[Music] Hi, I'm Nicholas Hankins.

Welcome back to the painting studio and another Bob Ross wet-on-wet technique painting.

Come on up to the canvas and I'm going to go ahead and get started as I tell you about what's going on on this canvas.

It's a little bit different.

Picking up a little cad yellow and bright red on my two inch brush.

I've got a lot planned in this painting, so I want to, I want to get right to it.

Let me get right to it.

I have an 18 by 24 inch pre-stretched, double-primed canvas up here on the easel.

The top, as usual, has been coated with a thin, even coating of the liquid white.

Down below, I just added a little, little liquid black.

So we're gonna try something a little different, something with a lot of deep, dark shadows down in the bottom.

There we go.

I want a little glow in the sky.

Grab a secondary brush here.

Let's pick up a little, let's pick up a little Prussian blue, some alizarin crimson.

Just mixing these on the brush as well.

Alizarin crimson and Prussian blue make a nice sort of lavender bluish color.

Just tap that into the brush and let's come back up here and we'll... Oooh, isn't that pretty?

Put a little touch of this in the sky, it's sort of purplish, purplish tone.

Maybe even go just a little, just a little more blue deep in, deep in the corners, especially.

Yeah, like that.

Come over here on this side, just kind of weaving this in between and around some of that orangey color.

There we go.

Let that wander on down, get lighter and lighter and lighter and lighter just using little crisscross strokes.

And let's go ahead and wash a brush.

We'll need a clean one in a minute anyway.

So we'll wash that brush out in some odorless thinner, shake out the excess and just beat the devil out of it.

[chuckles] All right.

We'll come back and soften and blend where these two colors meet.

By having that just a little bit to the purple side and having our warm color a little bit to the orange side, we don't run the risk so much of those two mixing together and having them turn brilliant, bright green.

There we go.

Something about like so.

Let's build a little cloud up here in our sky.

Just a few little things.

I'm going to load up a number six fan brush.

That's the bigger of the fan brushes with some titanium white.

Just swirl in a little cloud that lives up here.

About like that.

Be right back.

I'm going to give him a, give him a buddy.

Lives over here on this side.

Maybe there's even a few little stringy clouds like this.

You can just kind of turn your brush on the side, add some little stringy floating clouds.

And all these clouds have different names, but I don't know what they all are, so I just call them happy clouds.

That keeps me out of trouble.

[chuckles] Keeps me from sounding foolish.

Because I don't know what all of them are.

Blend out the bottom edge of that little cloud a little bit on this one.

Pretty him up.

Fluff them up and brush across and we'll be, we'll be on our way.

There we go.

Big bright, happy sky.

Okay let's...

I'm going to go back to that little fan brush I was using.

Tell you what we'll do.

Let's go back and grab a little Prussian blue, a little more of that crimson kind of mirror, that sky color, just a bit.

I've added white here, though, so it's, it's a little, little lighter than just the pure color.

And let's, let's go back in the background here.

We'll have a little, little far distant mountain living way, way, way back there.

Filling in just a little bit.

Come back and take my two inch brush now.

Wipe it out a little bit.

I don't know what color I've got on there.

[chuckles] There we go.

Wipe the brush off and stay out of trouble maybe.

We'll blend that out just, just as we would if it was a big knife painted mountain.

Can even dust over it very gently, if you're careful.

It'll make it look even farther away.

Whew.

Way back there, way back there.

Let's mix up.

Speaking of knife painted mountains, let's have one.

A little blue and black, Van Dyke brown, and alizarin crimson.

I believe that's Prussian blue I grabbed.

Mix all that together.

All right.

We're going to have a, a big rowdy mountain here.

Big rowd.

Loud, rowdy one.

Rowd.

I just made up a new word.

That's a combination of loud and rowdy.

We're going to get rowd.

[chuckles] Big, mean mountain.

A lot of little pointy peaks on him.

I'd hate to meet this one down a dark alley.

He is, he is one big, old, mean mountain.

Don't want to aggravate him.

So maybe one more little peak.

Yeah.

Right there.

Scrape away all that excess paint.

That makes the next step so much easier.

I can't tell you, cannot tell you how much easier it makes it.

Make sure we got a good dry brush here.

Grab that paint and pull it.

{Nic makes "ssshhhoo, ssshhhoo" sounds] See it blends right out.

Right into that, right into that waiting liquid white.

That's what gives us the ability to do that right there, that fantastic effect where this turns into just a beautiful, misty haze down at the bottom.

Whew!

It's pretty already.

[chuckles] Pretty already.

I love to paint mountains.

They're probably, probably my favorite thing to paint if I'm being quite honest.

Just endless possibilities with these things and I like playing with all these angles.

You can do so many interesting things with all of these little shapes and just so much interesting stuff happens with mountains.

Teaches you to drive that knife effectively.

You can paint mountains, you can, you can really master the palette knife and do some fun stuff with it.

Maybe this mountain kind of wiggles off that way today.

Just give him a little, little different shape.

Like I say, there's just, there's so many possibilities with these.

It's kind of, kind of limitless what you can do.

The possibilities are endless.

Kind of let that hang over the edge a little bit right there.

[Nic makes "shhooo" sound] Comes on down, maybe down low here.

I'll take a little bit of that sort of violet color I had for my distant mountain.

Add that to the white and sort of, sort of tone it down.

Maybe, maybe we get into some shadows down here so that's a little, it's a little cooler.

With that mixed in with your highlight, makes it pretty.

A little, little bit on this peak back here.

Maybe just [Nic makes "sshhoop" sound] something like that.

There we go.

Don't want to, don't want to pick it to death though.

You can work on something for too long and it just sort of turns to mud, so we don't want to do that.

I'll make a little shadow color here out of our white, blue, a little bit of that lavender.

That's fine.

And we're going to have some beautiful shadows that fall off in this direction back here.

Just a little bit.

Just a little bit.

[Nic makes "sssshoo" sound] I don't want to, I don't want to lose all that pretty dark in there.

We've got, we've got to have that as well.

Get into some strange angles here on this backside too.

Got to be sort of careful.

Get creative about how you work your hand in there.

Makes you think and I'm not real good at that.

It's good for me to try it once in a while, I guess.

There we go.

A little shadow behind that one.

Just sneak it into that little crevice.

[Nic makes "psssoot, tooo" sounds] These need some too over here.

A little bit, little bit.

Park that color over here because I'm going to use it again for something in just a minute.

Bring that shadow, that highlight back out in front there just a little.

There we go.

There we go.

Got to have everything looking like it's, looking like it's lined up right with the light source.

It'd look kind of funny if you got all your highlights on one side and suddenly a shadow's in there going the same direction.

You just got to pay attention to those angles.

It's usually what can get you in a mountain if you're trying to paint a mountain and it looks a little funny.

A lot of times it's the angles that have gotten a little off.

Let's take a little more white, some of that mountain mix, that good old mountain mix.

Add a little crimson to it.

I'm going to make it sort of a lavender flavor.

More of a lavender flavor, lavender gray.

Something like that.

We'll try it, see if we like it.

Grab a fan brush and we'll take a little taste test of it.

See how it looks up here.

Let's go back here and plant some little trees.

See, I think that could be a little darker.

So I'm again, going to take a little more, a little more blue, a little more mountain mix and add to it.

We're going to darken it up.

Yeah.

There we go.

Now.

Now it'll show.

Yeah, that's better.

And you can make decisions on the fly like that.

You don't have to stick with something that you, something that you dreamed up and you don't like it.

I see a lot, a lot of students, we'll have them in class and they'll just be socking on a color onto their canvas, and they'll go, "Shoo, I hate this color."

I have to remind them that they don't have to keep putting it on there.

Stop and change.

Stop and change it.

You don't have to lock into something you're not crazy about.

Especially early on in the painting.

It's always fluid.

You can always change it around, make it, make it suit you.

Painting is supposed to make you happy and your painting should make you happy.

Tap out the base of these little trees just a bit.

Fog them up.

There we go.

Let's have a little range of closer trees which to do that, we need to get darker still.

So let's take a little more mountain mix, maybe some black, I'm going to add this little touch of phthalo green to this.

That might be pretty.

Might be pretty.

Let's see.

Yeah, not bad.

Not bad.

Slightly closer trees on this side and they kind of walk down this side of the valley.

Big mountain valley here.

I'm just tapping straight down with this brush.

I'm taking the corner and kind of jamming it into the top, top of the tree, make it pointy, and then just kind of let it crash.

I'll call them tap and crash trees in class.

[chuckles] That's kind of how you make them, you just tap and crash.

Just try not to crash and burn.

That's the, that's the main thing.

Maybe one or two of these trees back here just happened to get a little more sunshine and a little more love and it grew just a little bit taller.

Maybe we can see a little, little more detail on.

oh, one or two of them anyway.

It just happened to be a little bit bigger, something like that.

All right, now down here in this foreground, take a look at this.

I'm going to, I'm going to grab... this one I was painting the sky with had that yellow in it.

Old two inch brush, I'm going to take some of that color, come right over to my cadmium yellow and because we have this marvelous liquid black on the canvas, I don't have to paint a bunch of dark in there.

Maybe get a little yellow ochre, I can just take some of this color and begin tapping on that dark and create a little hillside where we can hang out and have some fun.

Enjoy the view, have a picnic.

Maybe plant a tree in a minute.

Just take a little, little touches of all the yellows really, as I work along here, just to change the flavor every so often.

As, as this gets worn out... Tell you what.

Like back in here, let me, let me make that even a little softer so we really can't make out the bottom of those trees.

I don't want to see where they stop.

I want them to just kind of float back there.

And with what's left on the brush, I could even come back in here because I've picked up a little bit of that black and make a little, a little dark line at the top and then as I work down into the darker, that's going to feel like a much farther distant little, little meadow back there on the hillside.

You can make some of the softest looking grass this way.

It's so pretty.

I talked about trees.

Let's paint a big tree.

Let's paint a big tree now.

Let's take, I'm going to need more paint, though, if we're going to paint a big tree.

Let's take some blue and black, a bunch of it mix it together with brown and alizarin again.

It's kind of my standard dark mixture.

We're going to add a healthy amount of sap green to that color.

Just good dark color.

And it's going to have a little bit of a green flavor now.

Big wad of paint on the palette, though, you got to have that.

And we'll grab an oval brush today.

I'm actually going to get just a little tiny touch paint thinner in it.

I don't usually do that, but with a big brush like this, it will help us load that thick firm paint in there.

And I'm really going to wiggle the brush through the color and then draw it to a sharp point and come to a nice chisel edge like that.

Okay, let's come up here and decide where our big tree lives.

Lives right there.

Take just a corner of that brush like we would with a little fan brush.

Same way.

And you can paint some big, big, fantastic looking evergreens with this oval brush.

Makes these little hangy down limbs that are so pretty.

That kind of reminds me of, I think it's, what is it called?

Like Norwegian spruce maybe, have those big hangy down limbs that are so pretty.

He's standing right there taking in the view and he, he'd have to have a, he'd have to have a little buddy out here taking in the view with him.

Of course.

Of course.

The best of friends.

Get just another little, another little drop of thinner that helps when you have to paint over thicker paint, helps it stick.

Here we go.

They have, they have a neighbor across the way here.

Lives, yeah, about right there.

Just kind of make a little top shape that you like.

Come back very gentle at first, and then start working back and forth, and back and forth.

Let those limbs and branches get bigger and bigger as you work down.

Doesn't that make some, doesn't that make some beautiful trees.

Grab a, grab a palette knife here and take a little bit of the two browns and some white.

Make a nice little tree trunk color.

Just a little touch of it here and there.

Run a little sharp top out of these.

A little spiky top.

I tell you what, let's take that same brush, I'm going to wipe the majority of the paint out of it, and then I'm going to dip it into some liquid white.

This is that same little oval brush.

I'm going to dip it into some liquid white and then pull it through my cad yellow, so it turns green.

Show that to you.

There you go.

And we'll come back and put some bright pretty highlights on these trees.

Sort of, it's almost like a springtime green.

Very pretty.

I want a little more sap green in there, I think, maybe even a little phthalo green.

More of an emerald feel.

Yeah, yeah, yeah.

I like that better.

I like that better.

See just... this has been a lesson in adjusting your color.

Adjust it until you're happy.

Because you're the boss.

You say, what you say goes when you're, when you're on a piece of canvas, what you say goes.

Let me kind of plant those trees down into the ground.

We'll anchor them with some grass.

Happy, little, happy little lawn.

This should be a lawn.

I'd like to live right there.

Wouldn't you?

I would, let's build a little house right there.

You want to?

Hang on, let me plant a little more sod here and we'll, [chuckles] we'll build us a little house.

First thing we need to do, makes, makes life a little easier - let's take the knife and just kind of scratch out a basic shape for our house.

There we go.

That removes, it removes loose paint, and it kind of gives us an idea of where we're going.

All right.

Pull out some Van Dyke brown very flat on the palette.

I'm going to cut across, whoops.

Had a little yellow on the knife, surprise.

We'll cut across and get that little roll of paint out on the end of the blade there.

All right, let's come up here, and first thing we have to do is build the little back eave of the cabin.

Give him a, give him a little roof there.

[Nic makes "wwhht" sound] Down like that.

Got to have a couple of, couple of walls here that we see, anyway, a couple of visible walls.

Drop a little brown in there.

Give him a little side piece right there.

A little side wall comes down about so.

Kind of restate my, restate my roof just a little bit.

There we go.

Okay.

I'm going to take a little titanium white, a little brown, a little sienna.

Mix this to a very, very marbled appearance And cut across.

Let's come back and put a little, put a little wood texture on the walls of the, front wall of the cabin there.

On the side here, the side facing away from the light, I want to darken it just a touch.

I'm going to add some more Van Dyke brown.

Just, just calm it down a little bit like that.

Cut some little boards in there.

And for the roof, tell you what, let's do for the roof, let's, let's make, let's make a little gray like he's got slate, like a slate roof.

He's made some shingles out of a slate roof.

So we'll take a little black, a little midnight black and some white and cut off a little roll again.

Let's come up here on the roof and we'll just kind of let this knife go.

Bump, bump, bump, bump, bump, bump, bump, bump.

Just like that.

[Nic makes "tch, tch, tchooka, tchooka, tchooka" sounds] Kind of, kind of make it feel like a, like a little slate roof.

Get a little lighter color.

I'm just going to pick out this edge so it stands out.

And there's a little piece of metal on the end of the roof there just to kind of keep it seep.

Give him a little door here.

Let's take, where would it be?

About right there?

Take a little black, darken this door.

We'll cut around our little door, clean him up.

And then I'm going to do what's, what's known as a cabinectomy.

We're going to cut off anything that's too much so we get our perspective right.

Make it, make it stand out there.

Get the edge of that back just a little bit, there we go.

All right, now I can come back with grass and we'll plant the grass right up against the house like that.

I'm just continuing on here, kind of forming the lay of the land.

Tell you what, we'd have to, we'd have to have a little way to get up there.

Let me grab a little fan brush, and we'll build a, we'll build a little path so we can get back to our, our cabin.

Take a little brown, couple of the, couple of the browns, and I'm just going to kind of wipe back and forth, back and forth, back and forth.

There we go.

Get us a little path, put just a little touch of highlight on it, where the light's beaming down over the mountain.

Just to give it a little, little something going on in there.

A little interest.

And we'll bring our grass up to the edge of our path.

This looks Alaskan.

Kind of like a little Alaskan landscape.

Tell you what, being that, being that theme, if this is a little Alaskan landscape, sometimes you see those little fireweed flowers, I guess they're, I guess they are weeds.

I guess they grow wild, but they're pretty.

I can paint some little fire weeds in there with some, get a little liquid white and titanium white on a one inch brush, and we'll take a little bright red and alizarin crimson.

I'm just going to mix those two together on the brush.

Make sure I've got plenty of color in there.

I want it nice and saturated, pretty.

So I'm just going to load the brush basically to a chiseled edge or almost to a chiseled edge.

And then let's come up here and watch here.

I'll do some distant ones first.

I'll just kind of touch that little corner in there and push it.

And it makes, it makes the cutest little flowers.

Isn't that neat?

Some down here by the path, maybe.

That's the best kind of flowers.

If they grow wild, all this fellow's got to do is walk out and decide which ones he doesn't want to mow down.

Just leave them.

Just leave them be and that's his, that's his landscaping.

Natural landscaping on the wild frontier of Alaska.

See, put some down here in the corner, too.

They're getting a little closer so they're going to get a little bigger.

There we go.

That's some pretty ones there.

Sneak over here to take just a little bit of that yellow.

I'm going to have a couple of little stems showing, little stalks, holding up some of these flowers.

They're kind of clever, I guess.

Something about like that.

Something about like that.

We'll tidy up our edge of our path just a little bit.

And with that, our little, our little mountain landscape's complete.

I told you there was going to be a lot in this one.

I hope you enjoyed it.

I hope you come back and paint with me again.

And until next time, happy painting [Music] [announcer] To order Nicholas Hankins' 68 page book with 13 painting projects or his companion DVD set, Call 1-800-BOB ROSS or visit BobRoss.com [music] [music]