[Music] Hi, welcome back.

I'm certainly glad you could join me today, because today is a very, very special day to me, and I'm glad that you're here to share it with me.

This marks the 200th Joy of Painting show today, and it does nice things to my heart to think that we have made this many shows, and that you've kept us on the air this long.

And I tell you what, since this is such a special show, I'd like to dedicate it to a very special lady: Annette Kowalski.

Annette has been with me since we started The Joy of Painting, she's worked in every show, and her and I traveled for a lot of years teaching, and making all of this possible.

So Annette, I hope you enjoy this one.

Tell you what, let's start out, and have them run all the colors across the screen that you need to paint along with me.

while they're doing that, come on up here and let me show you what I've already done.

I thought we'd do a special painting today.

So I've take a piece of contact paper, and I've cut two ovals out of it today.

Son of a gun, looks like two big eyes there.

Maybe it's that little owl we had on one of the earlier shows.

Then I've covered this with liquid white on both sides.

So it's all slick, it's ready to go.

So let's get started.

Tell you what, let's take the old two inch brush, we'll go right into a small amount small amount, of the Indian yellow.

Just tap a little into the bristles.

Okay let's go right up here.

Maybe, right along in here, we'll just put a little of that yellow, just a tiny bit, right over here.

This is how you make a giant cartoon figure.

[chuckles] Okay, now, I'm gonna add a least little touch of the yellow ochre, least little touch.

And we'll go right above that.

I just wanna put a little golden hue in the sky here.

Just to make it nice and pretty.

And the same thing over here on this side.

Just back and forth.

There we are.

Okay, now I'm gonna wash the old brush.

And as you know, we wash our brushes with odorless thinner, shake off the excess, [laughing] and cover everybody in the studio.

And that's what makes it fun.

Just enjoy.

Now when you're doing this at home I strongly suggest you get a brush beater rack or something and put it in the bottom of a wastepaper basket cause you'll change the decor of your living room in a heartbeat.

A little phthalo blue.

Let's go right up here... just bring this blue right down almost to that yellow.

Right down like that.

Over on the other side, same thing.

And let's have a little water in this, shoot I like water.

We'll take a little phthalo blue, get a little phthalo green.

Just mix them on the brush, what the heck.

Alright, let's go up here.

Maybe our water's gonna live right along in here somewhere.

Just wherever you want it.

Make a decision, drop it in.

This is your world here so you can do anything that you want, anything that you want.

There we are, very lightly go across.

Okay, a little more of the phthalo green, phthalo blue mixture, and we'll do the other side.

This is like painting two scenes at once, only we're gonna let the scene just continue right through.

There we are.

Very lightly, go across.

Okay, and then we can wash the old brush again.

I just like to wash brushes.

There.

Shake it off [laughing] and just beat the devil out of it.

Now then, I want to blend this together.

Nice clean dry brush, just blend it together.

Right there where they touch.

There.

And we'll go over to the other side, and the same thing again.

Just blend them together, that's all there is to it.

Now maybe, sometimes you like to have a little, little stringy cloud.

Now I'll just take a little touch of the midnight black, just a very small amount, a little Prussian blue on there, on the brush.

Okay, maybe there's a little happy cloud, and he just sorta floats right across here like this, maybe he comes right over into this side.

See let him extend all the way through, and everybody knows that the painting continues.

Then very lightly, just blend, just blend them.

That's all there is to it.

Wash your old brush off again.

[chuckles] There we are.

Let's have some fun with some clouds today.

We'll grab an old fan brush here.

Maybe for clouds we'll take some alizarin crimson a little touch of the phthalo blue in it, maybe even a little black.

A touch of white, be right back.

There we go, make a nice lavender color.

I want that lavender color, because when it touches the yellow it won't turn bright green, it'll turn more of a brownish color.

We'll just load up the old fan brush here.

Both sides, a lot of color, just really rake it through there.

And you have to make a decision now.

Where does the clouds live in your world?

I think there's a happy little cloud that lives right here.

Use just the corner of the brush and just sort of scrub it in.

There, maybe he's got a little friend lives right there.

There we go.

And, maybe these clouds, they come right on through well there they are, just wherever you want them.

Clouds are very free, they just float around and have a good time all day, so that's the way to paint them, that's the way to paint them.

Good clean dry brush, and all I'm doing here is blending a little to just remove excess paint.

There we go.

We're gonna come back and put some happy little things on those clouds, some little highlights, and if you get all this excess paint removed, then it makes the next step much, much easier.

There we go.

Now then, I have several fan brushes going, so I'll just grab another one.

Take some titanium white, be right back, right back here, grab a little of the bright red, just a little.

Just put a little pinkish glow in these clouds.

Make them sing.

Okay let's go up here.

Everybody needs to sing in the sunshine.

There.

Just come right along here, and right on the top, just put some little highlights up here.

There we are, see there?

Just let them dance right along the top of the cloud.

There.

Okay.

There we go.

See, all we're doing is just putting some frosting up here.

These are the good parts.

But you have to lay your base color in there first.

Just like baking a cake, gotta put all the ingredients in the pan before you can do it.

And we're doing the same thing here, same exact thing.

There we are.

And you just sorta decide where all kinds of little things live, and drop them in.

Drop them in.

Once again with our good, clean, dry brush, use just the top corner of the brush, and blend the bottom of the highlight.

Just the bottom.

Just blend it, just wind it up a little bit.

Okay, other cloud, and go right over here like so, just continue to blend.

There we are.

Now we're gonna fluff these clouds.

I beat the brush only to remove the excess paint that I've picked up.

It's easier than cleaning the entire brush.

Lookie there, that easy.

We have some beautiful, beautiful little clouds just floating around.

Mm.

Lift them, just blend them.

It's a very, very effective and nice way to make some happy little clouds.

Okay.

Tell you what, maybe we'll have a, let's have a little mountain back here.

For that, I'll use some black, some Prussian blue, some Van Dyke brown, some crimson, just mainly some nice dark colors, very very dark.

Pull your paint out flat, go down with the knife, cut across, get a small roll of paint right on the edge of the knife.

Let's go right up here.

Now you gotta make another decision: where does your mountain live?

In our world, there it is, it lives right there.

Maybe there's a bump there.

Wherever you want them, wherever.

There.

And all we're looking for is a nice edge on the top.

We could care less what's happening down in here.

We don't care about that.

Let's go with the other side and let these mountains continue.

Maybe they come right on through there.

Like so, let's put them right on up in the clouds.

Shoot, that's a big mountain over here.

It lives up here in the sky and has fun.

Okay.

Scrape off all the excess paint.

Just pull it right off there, get tough with it.

This is where you take out all your frustrations and hostilities and that's where to do it.

Because you don't have to make anybody else mad, shoot, you can remove all those old negative feelings, just pull them out.

There.

With a large brush, all I'm doing is just blending that color out.

Pull it, and blend it.

This is also an excellent way of laying out highlights and shadows in your mountain.

Now this is continually mixing with that liquid white that's on the canvas, and you get all of these different tonal values, just automatically.

Automatically.

Alright, let's take some, we'll just use some titanium white, we're gonna pull it out very flat, cut across, and once again our little roll of paint.

Looks like there's a little touch of that bright red in there too, but that's alright.

That'll just be very pretty on there, look like a little sun, zinging right across the mountains, there we are.

No pressure, no pressure at all.

Just lay the knife, no weight.

No pressure.

There.

And, in your world, you figure out how your little mountains are, and just just drop them in.

Wherever you want them.

And whatever shape.

Maybe where you live the mountains are different, maybe there are no mountains.

You could leave the mountains out of this and it's still a beautiful painting.

Still nice.

Let's go with the other side of this rascal.

A little roll of paint.

There we are.

But no pressure.

I know you get tired of hearing that, but it's so important.

That's probably one of the most often asked questions that I receive in the mail is, "why am I having trouble making the paint break and bounce like you do?"

The only problem is normally one of two things, and normally it's too much pressure.

Sometimes it's because we use a paint that's too thin.

If the paint's not very firm and very dry, it'll just, you'll become a mud mixer.

I'm mixing up a little phthalo blue and white here, we'll make shadow out of that.

Once again, our little roll of paint, right on the edge of the knife.

Okay, give it a touch, and a pull.

Just follow your mountain, [Bob makes "tchoom" sound] right on down.

Isn't that fantastic, that you can make a mountain that easy?

You can do it, you can do any thing, any old thing.

All you have to do, number one, is believe that you can.

If you believe you can do it, you're halfway home.

Then all you need to do is just, a little practice, become familiar with your equipment, [chuckles] you can do it.

Let's put some shadows over on this side too.

There we are.

A little bit right in here, like so.

There.

Okay, maybe a little touch, [Bob makes "pshoom" sound] just follow the angles in your mountain.

There.

And you can come back and you can add all different planes in here if you want them, or just anything, anything.

As you know, if you've painted with me before, we don't make mistakes here, we have happy accidents.

You learn to work with anything that happens, any old thing that happens.

Okay now then with clean, dry, two inch brush I'm gonna tap, following the angles in the mountain.

I wanna create that illusion of mist back here.

So lift upward now, this takes out the little tap marks, brings everything together, smooths it out.

Let's go over here.

It's most important that you follow those angles though, most, most important.

If you don't, you're gonna just chop the bottom of your mountain off, look like [laughing] it'll look like someone took a big razor blade and just [Bob makes "zzzt' sound] zipped it off and away it went.

And it's much nicer if you can sort of look through the mist and see it.

Okay, maybe we can bring a little projection out here just by putting a little of that shadow color on the brush.

You can create a whole 'nother plane in the mountain.

Whatever.

Just let your imagination go.

Here, we just want to show you how to do it; what you do is up to you.

Completely and totally up to you.

There.

Maybe over here, we'll just have a little thing comes out here too.

Wherever you want them, and however many you want.

Tell you what, we'll just use this same old brush.

I got a little of that lavender color left.

That was just a mixture of alizarin crimson and phthalo blue, and a little touch of white in it.

Okay, let's go right up here.

Maybe, let's go right in here, maybe there's a little footy hill, foothill lives right there.

Just take the corner of the brush, or you can use a one inch brush, or a fan brush, whatever.

There we go.

See there?

Just put in just a happy little background thing.

There, far away.

Okay, maybe it just continues, sort of see where it's at, continue it, there it is.

There it is.

You knew it was there.

All the time.

There.

Mm, this is also a nice way to make hills and mountains from, oh North Carolina and all that area.

They have some beautiful, beautiful country there.

And you could just leave the mountain out, and just put several rows of these little foothill looking things that I'm using here, and it makes beautiful, beautiful little mountains.

I'm gonna use a clean brush.

I want to tap the base of this, and I'm tapping it very firmly.

I want to create that illusion of mist.

Let's go over here, and we'll tap this one.

There.

Just really get in there and tap on it.

I'm gonna lift slightly upward.

Just like so.

Now back to our same old brush, and sometimes it's fun to put several layers of these in.

And it helps increase that illusion of distance in your painting.

And you know me, I like paintings that have a lot of distance and depth in them.

And if you're interested in selling paintings, Ooh, that's what sells.

That's what'll bring that happy buck home.

We'll have some reflections here so I'll just pull some of that color right into the water.

Look a there.

Then lightly across, [Bob makes "sssoo" sound] instant reflections, instant reflections.

Maybe this goes right here, maybe it comes over here, and drops right down there.

We'll play a little, watch here, watch here.

We'll create a little mist under this one.

See?

Now, back to my other brush, maybe there's another one that comes down here and comes right in front.

But you need that misty area, that is so vital if you're gonna make this look like it's separate.

If you don't have that misty area in there, they'll just go right together.

Okay, we'll tap in a little bit of mist here.

Now then, we need some reflections on this side too.

Take a little of that color, pull it straight down.

It's important that these reflections come straight down.

And go right across, just like so.

Okay, tell you what let's do, let's go up here, get a little dark sienna, a little white.

I want that darker, I'll add some Van Dyke brown to it.

Ooh, that's nice, that's nice.

Cut off a little, tiny tiny roll of paint.

Now then, just gonna go back in here and just sorta scrub in indication of a little land in that.

I don't want a lot of detail back here, it's too far away.

Don't want it yet.

Right along in there.

Tell you what let's do.

I want to show you something else.

Changed my mind.

Changed my mind, maybe there's a little... there, look a there.

Sometimes you just see things that look so fantastic, I want to, I want to add something right here.

Watch here.

One of the most fantastic things about this paintings technique, is right in the middle of the stream [chuckles] as they say, you can change your mind.

I have decided, maybe we'll have one more area back here.

Let's do that.

It'll help create that illusion of distance.

There we are.

Now then, let me find a fan brush.

Let's go right into, we'll get a little black go right into some cad yellow, a little yellow ochre, a little Indian yellow, just mix them on the brush, a little touch of the bright red.

Many, many colors on the brush.

Let's go up here.

Let's, let's begin putting some color back here, shoot.

Let's make this a little more interesting.

Mm, that's nice, that's nice.

I thought that would be better.

There we go.

And I'm just pushing upward with the fan brush make all those little grassy areas that are way back here.

Maybe this one comes, right out, there it is.

A whole different plane.

Now let's take a little... let's take a little bit of the liquid white.

Pull it out flat, then cut across, okay?

Now then, we'll just have us a little water line back here.

Now.

See how you can make that, by adding that in there it creates another plane, and it's more distance in your painting, a lot more distance.

There we go.

So I mentioned at the beginning of this show, this is the 200th Joy of Painting show, and it just, I am just proud as a new pop over it.

And Annette and I traveled for many years all across the country, and we taught literally thousands of people the joy of painting, and we made just hundreds and hundreds of beautiful friends, and I hope they're watching and they share in this, because they made it possible.

So many of you have made it possible.

Let's go back into our dark color.

Old fan brush.

Maybe way back here there's some little, tiny trees.

See, you can set a little tree back here.

There he is.

I'll give him a little friend.

Just the corner of the brush.

Just the corner.

Maybe, here and there you can just see the indication of some little things that are too far away to really make out what they are.

Okay, so maybe one over here, so it's not left out.

Like so.

There.

Boy, them trees are fun.

Let me grab my knife.

Let's mix up some more paint.

Some black, blue, Van Dyke brown, alizarin crimson... throw a little phthalo green in there too, what the heck.

Whatever you got.

Long as it's dark.

Back to the old fan brush.

Just wipe it right through here.

Maybe... yep, boy there goes my mountain that I like so well.

That's alright, we know he's back there.

So if anybody ever asks you, you can tell them there's a fantastic mountain that lives right behind this tree.

Let's make a beautiful little tree right there, nice evergreen.

Maybe, yep right there.

Right there, there's another one.

Shoot, we don't want them left out.

There's another one, right there.

Maybe when this one was little it got stepped on.

He's got a little crook in him.

And we'll just put some little, little landmasses right out here.

We can bring some of that right down, and all I'm doing is applying some color there, take another large brush, grab it, give it a little downward pull.

[Bob makes "Doop doop" sounds] Go across.

And there we are.

Now we can take, we can take some black, some cad yellow, just mix it together on the brush, go right up here, and let's put some highlights right out here on these little trees.

Just some nice little highlights.

There they are, don't overdo.

Keep these trees pretty dark, pretty dark.

Okay, I'm gonna take a one inch brush.

Dip it into a little bit of the liquid white, then go right through a little cad yellow, little sap green, all the different yellows here.

Let's go right up here.

Out here, we're gonna have... a beautiful little bush that lives out here.

A little yellow ochre, there we are.

Okay.

Just drop that right in.

You can reflect a little of that down in here if you want to.

Give it the most gentle pull.

There.

Very nice, very nice.

A little bit of Van Dyke brown, put in a little land.

[Bob makes "tchoo, tchoo, tchoo" sounds] Take a little white, a little dark sienna, that's a nice color, beautiful color.

Cut off that little roll of paint.

Just put the indication out here of a little highlight on that.

A little touch of the liquid white then we have a little water line, right under there.

Clean knife, scrape in a few little sticks and twigs and little happy things that are happening.

Shoot, that's looking nice.

It's really coming along nice.

A little indication here and there of a stick and a twig.

Now then, tell you what, fun time.

Let's bring the camera right up here, I'm gonna pull the contact paper off and let you see what's happened.

This is the moment of truth.

Ooh, look at that.

Now we have two great big eyes looking at us.

Now, watch what we can do, watch what we can do.

Let's go back to the fan brush and that dark color.

In the middle here, in our world, there is gonna live, boy there sure is right now.

A beautiful big tree right here.

I love this idea.

This idea was sent to me by a fantastic man.

He's one of our teachers, he travels all over the country and teaches people this method of painting.

He lives in British Columbia.

Super friend, and his name is Nat Hojay.

And Nat comes up with all kinds of ideas.

Boy, he makes some of the wildest things with this contact paper you've ever seen.

Okay, maybe, tell you what, maybe there's another tree, lives there.

Let's just say, there's one there, maybe we'll have another one there.

You want to get crazy?

Okay.

There he is.

Just put them trunks up there, then we can come back.

In here you could care less what's happening.

We'll separate that with highlights.

All you have to worry about are the nice tops.

Alright.

And here we go, right there.

Use just the corner of the brush, as you work down the tree, apply more and more pressure.

More and more pressure.

And this big 'un up here.

There he is, there he is.

Boy, he's really hanging out here.

Big old tree.

There he is.

Tell you what, tell you what.

I like these old crookedy trees.

There's another one, right about there.

Wherever you want it.

There we go.

Shoot let's... it's too slow, let's get the big brush.

Pull it through that dark color in one direction, load a lot of paint into the bristles.

That's important that you load a lot of paint.

And we can just give it a push decide where we want our land to live out here.

And, we'll come right along here, maybe like that.

There's a little thing.

Wherever, wherever, wherever.

Go back to some of this dark sienna and white, put us in an indication here and there, of a happy little tree trunk.

Just wherever you think they should live.

There we go.

However many.

Okay.

Now, we can take a little touch of the liquid white, go into some of our colors, and let's begin putting in a beautiful little bush or two, here and there.

There he is.

There he is, a little yellow ochre here and there.

We can drop one in.

See there?

Just wherever you want them.

Maybe, tell you what, tell you what.

Maybe there's a little land out here, we'll just take a little brown, come around.

And while I'm finishing this up, the old clock on the wall tells me that, about time to go for the day.

I hope you've enjoyed this.

It's a super little painting, it'll teach you a great deal.

And I want to thank you once again for sharing today with me.

Because this was a very special day.

And from all of us here, I'd like to wish you happy painting, and God bless.