1. Hi, welcome back. Certainly glad to see
you today.
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2. It's a fantastic day here, and I hope it
is wherever you're at.
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3. So I tell you what, let's start out today
and have them run all the colors across
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4. the screen that you need to paint along
with us.
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5. While they're doing that, let me show you
what I got done up here.
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6. I have my standard old pre-stretched
canvas up here, and I've covered it
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7. with just a thin, even coat of liquid
white.
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8. And the liquid white just makes the canvas
wet and slick, and so we're all ready to
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9. go.
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10. So let's do a fantastic little painting
there.
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11. Today I want to
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12. I want to show you a very simple little
painting that really works well.
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13. Just, let's do something easy.
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14. Start with the old two inch brush and let's
go right into a little touch of the
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15. phthalo blue.
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16. And just touch a little and pull it
out, and then tap the bristles.
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17. That gets us a nice, even distribution
of color.
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18. See, all the way through the bristles.
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19. Okay, let's go up here.
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20. Because we have the liquid white on here, the
color is continually mixing.
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21. So you start at the top, making little X's,
little criss-cross strokes, just like
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22. so.
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23. You see how it blends with that liquid
white?
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24. If you had a dry canvas, it just doesn't
work like that.
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25. The liquid white really allows you to
blend color.
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26. It makes life easy when you're painting.
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27. There we are.
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28. And as we work down toward the horizon, we
want it to get lighter and lighter in
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29. value.
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30. And that will happen automatically, because
once again, the paint's mixing with the
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31. liquid white that's on the canvas, and so
it gets lighter in value automatically.
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32. You don't even have to do a thing.
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33. There.
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34. Something about like so.
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35. Now maybe, I wanna darken the edges
a little, so I'm gonna add just a touch
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36. of the Prussian Blue.
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37. Prussian Blue is much stronger than the
Phthalo Blue, so just a little bit, don't
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38. want much.
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39. I'm gonna go right up here, right on the
edges, and I wanna darken those so when
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40. the painting's finished, your eye's gonna
go up in this area.
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41. The light area will lead your eye right
into it.
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42. And a little touch maybe on the other side.
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43. What the heck, we don't want him left out.
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44. And just very gently go right across.
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45. That just takes out the brush strokes
and brings everything together.
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46. Okay, now, while we have a little brush
going here, we'll take a little more
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47. of the blues.
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48. I'll use both blues, what the heck.
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49. We'll start with phthalo, like we did on
the sky.
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50. Let's go up in here.
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51. Maybe there's a little water in here.
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52. You know me. Shoot, I love water.
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53. Now still water is always level.
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54. Always level.
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55. So try to keep your strokes as straight as
possible.
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56. There. A little more of the blue over on
the other side.
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57. And pull from the outside in.
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58. That way this is a nice feathered edge
here.
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59. You don't have a distinct line that
you have to try to work out.
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60. Just pull from the outside in.
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61. And don't worry about it this time.
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62. Anything that we don't want to be water, shoot,
we'll just cover it up.
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63. Just cover it up.
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64. There we go.
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65. Now then, fun time.
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66. Let me wash the old brush.
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67. If you've painted with me before, you
know this is the highlight of the whole
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68. painting.
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69. There we go, just shake it off.
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70. And just cover the entire studio.
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71. You should see our camera crew.
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72. Now then, I just wanna brighten this
a little, so I'm gonna take the least
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73. little, least little touch of cad yellow, and
just put right in here.
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74. Just a little yellow highlight.
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75. Not much.
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76. Not much.
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77. And then we'll work that in.
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78. There.
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79. And when that touches blue, it'll just
make us a nice greenish color.
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80. And we don't mind that in the water.
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81. And that easy.
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82. We have sky and water.
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83. See, I told you this was gonna be a very
simple little painting that's easy enough
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84. that even if you've never painted before, you
can do this one.
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85. You can do it.
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86. And you can clean the brush.
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87. Now then, let's build us a little cloud.
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88. Everybody likes to have clouds in their
painting, so I'll show you a very simple
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89. way.
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90. We'll use the old one-inch brush and just
pull it through some color.
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91. Titanium white.
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92. Just pull it through, let's go up in here.
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93. Maybe our cloud lives right here.
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94. Little tiny circles, little tiny circles, there
you go.
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95. And just let that brush dance and play.
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96. But think about a basic cloud shape.
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97. Don't just throw it up there and think
that a cloud will appear.
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98. You have to have a basic shape to work
with, something.
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99. About like that, what the heck, we don't
care.
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100. Clouds are very free, very, very free.
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101. Now with a good, clean, dry two inch brush,
gently, gently, gently, just using the
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102. top corner of the brush, blend the base
of the cloud.
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103. Very gently.
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104. I'm just beating the brush to knock off
the excess paint.
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105. Then we'll fluff it a little, like so, and
very gently, one hair and some air.
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106. Whisper light.
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107. Just go right over it.
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108. Tell you what, that was so much fun, let's
get crazy.
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109. Maybe in our world there's several little
clouds.
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110. I'm gonna add the least little touch
of the bright red to that.
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111. And let me say least one more time, because
it's a very small amount.
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112. And once again, pull it in one direction.
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113. See, got a little color there.
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114. All right, let's go up in here.
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115. You probably noticed there, we put tape
on the furrows of these brushes and stuff,
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116. just so they don't shine too much.
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117. I get letters sometimes that say the
equipment that you use looks different
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118. than what I have.
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119. It's no different. It really is no
different.
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120. All we do is we have to dull it, otherwise
when all these lights in the studio hit it,
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121. it would shine and make big glares
in the TV and this mean old director
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122. would yell at me.
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123. So we just put a little bit of tape on
there.
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124. And the knife, I spray paint it with just
black paint.
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125. There.
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126. Shoot, tell you what, it's such a nice
little cloud.
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127. Maybe he's got another little friend
right there.
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128. But do it in layers, finishing one cloud
at a time.
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129. Don't get greedy.
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130. Sometimes it gets feeling good and you
just get sort of carried away and try to
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131. do them all at once.
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132. Just do one little cloud at a time.
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133. One little cloud at a time.
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134. Blend it in, fluff it, tease it.
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135. There, very lightly.
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136. One hair and some air.
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137. Maybe, shoot, we're having so much fun
with clouds, I'll tell you what, I'm gon
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138. na put another one right here.
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139. Now when you're doing your painting, you
decide, you decide.
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140. wherever you want a cloud, then that's
the right place to put one.
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141. Don't put one here just because I did.
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142. Put one in your painting because you
want it there.
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143. And then it's strictly yours.
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144. I just want to show you how to make a
cloud.
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145. How many clouds you make or where you
put them, strictly up to you.
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146. Painting should be very free.
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147. Maybe sometime you can just take and spin
the brush a little bit and put in some
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148. little wispy clouds, little floaters.
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149. Just sort of spin the brush and let these
little rascals just float in there.
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150. See how easy that is?
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151. Now, same thing again.
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152. Just blend the base of the cloud and use
the top corner of the brush.
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153. See, if you use the bottom corner, you
can't tell where that's hitting.
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154. Use the top corner and you can see exactly
where it's hitting.
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155. See, if you hold it that way, you can't
tell where it's hitting.
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156. You're just guessing.
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157. And you wanna be able to control this
rascal and where it goes.
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158. Over here, these little wispies, I'm not
even gonna do anything but just blend
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159. right over them.
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160. These are little soft floaters that
live way back in the distance somewhere, far
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161. away, far, far away.
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162. Okay.
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163. All right, ain't that easy?
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164. We have some happy little clouds.
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165. Now then, I'll tell you what let's do.
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166. Let's build us a little mountain.
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167. I'll take some black, Van Dyke brown, at
least a little touch of Prussian blue.
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168. I don't want much blue in this.
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169. I want mostly black, but a little brown
and blue, just to change the flavor.
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170. Cut across, and we get a little roll
of paint.
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171. Lives right out there on the edge of the
knife.
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172. See him out there?
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173. Come right up in here.
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174. Let's have a nice mountain that lives
right here, see?
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175. Now, I've had some people say that it's
hard to make mountains.
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176. I'm gonna show you the easiest way
imaginable.
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177. All we do is just put in a basic shape, and
you decide the shape of your mountain.
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178. You decide.
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179. If you don't live someplace there's
mountains and you wanna paint a mountain, there
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180. are books and videotapes and all kind
of stuff that show you all different
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181. shapes of mountains, or just make one up.
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182. Just make it up. There.
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183. Be creative when you paint.
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184. Just let your imagination take you to
worlds that exist only in your mind, but
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185. you can put them on canvas.
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186. There. I think I've mentioned some other
series.
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187. That's probably what initially got me
interested in painting, is that I could
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188. create any kind of world that I wanted.
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189. Any kind of world that I wanted.
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190. No bad stuff here.
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191. That's why we have happy little trees
and everything's happy here.
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192. Okay, now I'm just gonna sort of pull that
down.
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193. Grab it and sort of pull it down.
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194. Just like we would normally do to make a
mountain.
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195. See, it's getting lighter down at the base.
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196. Over here, we'll just go in this direction.
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197. And all we're doing is just, just pulling
the color out so the next thing sticks
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198. easier.
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199. There, get rid of that excess paint more
than anything else.
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200. All right.
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201. Now let's take a little touch of the, oh, we
take some titanium white, at least a
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202. little touch of dark sienna.
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203. Maybe just a touch more than that.
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204. Ooh, that's nice.
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205. That's nice. A little roll of paint, once
again.
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206. Put a very small roll of paint.
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207. Now then, go up in here and just barely
touch.
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208. and just let it sort of float down the
mountain.
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209. See there? Okay, see how easy that is?
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210. Now if you do it fast, it works better
than just barely doing it.
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211. For some reason it works better.
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212. But no pressure, you want this paint
to break.
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213. And by break, I mean have all these little
holes here in it.
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214. See there?
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215. And maybe a little touch right in here.
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216. Gotta make those little noises.
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217. And sometimes those little noises really
do help.
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218. For some reason, they just sort of make
things work better.
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219. There.
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220. All right.
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221. We'll just use that same old brush.
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222. Shoot, we don't care.
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223. Take a little bit.
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224. Cad yellow, yellow ochre, be right back.
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225. Get a little touch of black.
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226. Little bit of sap green.
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227. There we go.
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228. But mix these colors on the brush so you
have a multitude of things happening on
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229. the brush.
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230. Little Indian yellow here and there, and
here and there I'm gonna touch the least
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231. little touch of the bright red.
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232. All on one brush though.
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233. Look at all the colors that are in that
one brush.
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234. And we're touching and pushing.
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235. Okay, let's go up here.
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236. Now then, I'm gonna make little grassy
areas that flow right up the hill.
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237. So all we do is touch and tap.
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238. Follow the angles, always follow those
angles.
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239. There, see?
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240. But isn't that simple?
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241. All you're doing is just tapping.
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242. The most important thing is the angles
here.
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243. You don't want your mountain to flow up
this way and you put grasses going in a
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244. different direction.
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245. It will disturb you.
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246. I bet you've looked at paintings and your
mind says, something's wrong with that
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247. painting.
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248. You might not be able to tell exactly what
it is, but you know something's wrong with
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249. it.
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250. And sometimes it can be something as
simple as that.
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251. So these little things that we talk about
all the time, like lay of the land and
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252. following the correct angles, are most
important.
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253. Most important.
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254. They'll make your painting special.
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255. Very special.
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256. Watch here.
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257. See, that one sort of went on over.
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258. So all you have to do, we'll take a little
touch of black, put it right there.
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259. See, just give it something to stand on.
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260. Don't let it just lay out there by itself.
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261. There, and very lightly pull that down.
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262. And I want it to remain a little darker, so
it looks like it's closer in the
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263. foreground.
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264. There, very lightly, just let it blend
right into nothing.
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265. And you can do that with just a knife, that
easy.
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266. Least a little bit of color on the knife, and
you can put the indication here and there
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267. of little things that are happening.
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268. But that's just a little black on there.
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269. Just to, see how it makes it look like
there's little things happening back there?
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270. And every time you have a little
projection here, you need a little shadow
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271. underneath it or it won't play with you.
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272. It'll just go home and leave you.
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273. There we are.
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274. There.
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275. See, with a clean brush, you can very
gently just blend that up.
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276. But isn't that a neat way of making a
mountain?
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277. It really looks like it's far away.
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278. Now we go back to our brush that has the
grassy colors on it.
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279. And we can begin just putting in all kinds
of little things.
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280. And once in a while, you can hit a least
little touch of titanium white, and just
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281. put a little bright spot here and there.
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282. But don't overdo, or it will lose its
effectiveness, like there's a little light
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283. hitting right there.
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284. Bing!
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285. Here it comes, going right over, there it
is.
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286. See, I tell you what, let that go right on
out there.
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287. Once in a while you can hit a little Sap
Green just to give it a little dark areas
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288. here and there so it's not all the same
identical color.
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289. There we go.
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290. There, okay.
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291. But isn't that a fantastic and very easy
way of making a gorgeous little mountain?
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292. Sometimes I get carried away.
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293. I see something here.
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294. Let's take some black, prussian blue, a
little crimson, and sap green.
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295. We'll just mix all those together.
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296. Okay, let me wipe my knife off.
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297. Let me just wipe the old knife on a paper
towel.
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298. Use number three fan brush, and I'm gonna
put some of that dark color on there.
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299. Both sides loaded full.
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300. And maybe right up in here lives, lives, yep,
maybe there's a little stand of
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301. evergreens that lives right in here.
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302. I think that's what you call a whole group.
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303. I know it's not a herd of evergreens, so I
think it's a stand of evergreens.
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304. A whole family, what the heck.
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305. A bunch.
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306. Back to our brush we were making the
little grassy areas with.
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307. A little grass right there in front.
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308. And see that dark color will make an
instant shadow underneath it.
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309. You don't even have to worry about it.
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310. There we go.
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311. Now then, let's get crazy.
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312. You know me.
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313. You know me, I like to play, let's see, we
had black, a little Van Dyke, a little
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314. Prussian, mix that same color again.
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315. Once again, our little roll of paint, there
it is.
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316. Maybe over here on this side, yep.
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317. Let's have another one that lives right
here.
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318. Another big old mountain.
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319. It comes down right there.
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320. Maybe, I don't know, maybe this one's
got a little bump right here too.
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321. And then comes right on out like that
somewhere.
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322. There we go.
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323. But mostly black, I'm using a very dark
color here, mostly black.
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324. All right.
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325. Now, grab that, and once again, just pull
it out, just like we did the other one.
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326. This is just a repeat of the other side.
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327. We'll do it twice, and that'll give you
a lot of practice.
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328. A lot of practice.
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329. There.
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330. Okay.
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331. And once again, we take a little white
with a little touch of dark sienna in it.
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332. Maybe even the least little touch of black
into that one, just so it has some
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333. variations.
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334. We come right up here.
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335. Whisper.
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336. Just whisper like, let it go.
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337. Let it go.
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338. No pressure.
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339. I think I've mentioned before, when I
was teaching my son Steve to paint, I
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340. used to tell him just to pretend he
was a whisperer.
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341. Floated right across the mountain.
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342. And he understood that.
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343. Made him understand what a gentle touch
this is.
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344. A lot of times I just, I absolutely drop
the knife.
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345. Because I'm holding it so gently.
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346. Now, we go back to our brush that had the
little grassy colors on it.
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347. And let's just sort of bring all that
together.
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348. There it comes.
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349. See, just let that grass float right up
there though.
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350. Just sort of let it work its way right up
there.
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351. And you have to decide how far up the
mountain it lives.
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352. Since this is your world, you make that
decision.
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353. Here and there I'm gonna touch a little
tiny, tiny bit of the bright red, but not
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354. much, not too much bright red.
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355. But once again, and I know you get tired
of hearing it, but pay attention to these
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356. angles.
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357. They're so, so important.
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358. These angles are what make it work.
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359. They make it work.
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360. There.
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361. Something about like that.
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362. And you can make this as bright or as dark
as you want it, depending on your mood and
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363. what you see in your painting.
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364. Any way that you want it.
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365. Sometimes when you're not in such a good
mood, paintings have a tendency to get a
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366. little darker.
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367. Because paintings reflect your mood.
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368. Sometimes you're not even conscious of it,
it happens.
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369. Now then, I'm just gonna take a clean, dry
brush, and I wanna tap the base of this to
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370. create the illusion of mist down here.
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371. Right down here at the base.
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372. Okay, very gently.
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373. You can also grab and lift upward here and
there to make it look like little distant
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374. tree shapes.
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375. Little trees that are poking up.
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376. There.
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377. Okay.
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378. Now then.
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379. Let's take, tell you what, we'll just take
that old dark color that we had.
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380. Go right into it.
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381. This was a evergreen color.
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382. So let's go back in here.
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383. Maybe there's a little bit of land that
lives right here.
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384. There it comes.
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385. Just tap it in.
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386. The big thing I wanted to show in this
painting is how to make very simple little
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387. mountains.
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388. And I think we've done some pretty nice
little mountains there for little quickies.
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389. And you can do that.
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390. This is just dark color so we can put a
lighter color on top of it later.
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391. It'll stand out.
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392. Absolutely have to have dark in order to
have light.
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393. Gotta have dark.
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394. Gotta have opposites, dark and light, light
and dark, continually in painting.
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395. If you have light on light, you have
nothing.
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396. If you have dark on dark, you basically
have nothing.
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397. You know, it's like in life, gotta have a
little sadness once in a while so you
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398. know when the good times come.
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399. I'm waiting on the good times now.
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400. There.
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401. I'm mixing black, a little sap green, prussian
blue, van dyke brown, alizarin crimson, anything
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402. that looks dark.
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403. Let me clean off my knife.
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404. Anything that looks dark.
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405. And we'll load up the old fan brush
here, full of color, a lot of color.
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406. Let's build us a forest.
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407. Maybe back here.
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408. All we're gonna do is touch and pull down.
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409. Don't worry much about this.
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410. All you're looking for is some very basic
little shapes back in here.
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411. Just some basic little shapes, wherever
you think they should be.
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412. Something like that. Okay.
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413. Wherever.
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414. There, these are little background trees
that are far away.
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415. Far away.
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416. They just live here and they look back at
that big old mountain range and have a
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417. good time.
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418. And then here and there, and there and
here, there's a few that are a little more
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419. distinct.
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420. There.
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421. So use the corner of the fan brush and put
you some little arms and limbs and little
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422. hands, whatever.
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423. All kinds of little things out here on
these trees.
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424. There we go.
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425. And you just decide how many live in there.
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426. Wherever you want them.
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427. There.
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428. Okay, maybe over here they're a little
bigger, maybe a little stronger here, a
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429. little more light hit them.
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430. There we go.
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431. We'll give him another friend, what
the heck.
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432. Something like that.
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433. All right.
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434. Let's go on the other side.
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435. Don't want him left out.
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436. We'll give him a nice, big, strong tree
right there.
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437. There he is.
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438. But as you work down, push harder and
harder with the fan brush.
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439. It'll force the bristles to bend downward,
and it'll make all those little hangy-down
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440. things underneath the tree limbs.
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441. And evergreens always seem to have those
little hangy-downs.
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442. I don't know what you call them.
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443. Little limbs that hang down.
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444. They have to be little hangy downs.
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445. There.
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446. And you put as many or as few of those in
there as you want.
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447. Now one of the most fantastic things that
happens with this technique is reflections.
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448. Watch here.
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449. When I was a traditional painter, I
used to agonize over reflections.
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450. In this style of painting, it's one of the
easiest things that we do.
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451. Just easy pull straight down and go across.
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452. But it needs to come straight down.
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453. Straight down.
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454. And then very gently go across, like so.
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455. We'll go back to our brush that had the
grassy colors on it, green, yellows, all
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456. the yellows.
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457. Just mix them on the brush though.
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458. Okay, let's go up in here.
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459. Maybe there's a, look at there.
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460. Yep, you're right.
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461. Just a nice little area back here.
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462. Something like that.
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463. And all we're doing is just tapping.
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464. No big surprises here, just tapping.
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465. But follow the lay of the land.
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466. That's most important.
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467. You decide where it's at and how you
want it to be.
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468. Okay, maybe over here it comes this
direction.
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469. I don't know.
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470. It's up to you.
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471. You make the big decision.
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472. We just show you how, but you make the
decisions.
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473. When you have this much power, you have to
make big decisions.
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474. Let's have some fun here.
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475. We'll take a little bit of liquid white.
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476. Let's put in just a little water, right, a
little water line right into here.
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477. There.
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478. See, just sort of let that just go right
around in there.
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479. Wherever you want it.
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480. Wherever.
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481. The other side over here, I have a little
one right in here.
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482. But I want this one to look like it
sort of curves around, so just do that
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483. like that.
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484. And I'll put it in there first, and then I'll
put dark so you can see it behind it.
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485. Pull a little reflection down, go across, then
all we have to do is put a little
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486. highlight
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487. Then come back, our little water line.
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488. Drop that in.
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489. We take our fan brush, put a little dark
green on it.
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490. And we can add just a few little
highlights on some of these evergreens.
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491. Not a great deal. Wanna keep them quite
dark.
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492. Something like so.
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493. Just a few. Let's go on the other side and
give it a few.
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494. And I think with that, we just about have
a finished painting.
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495. I really hope you try this one, because as
I said at the beginning, this is a very
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496. simple painting that you can do, even if
you've never painted before.
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497. So, from all of us here, I'd like to wish
you happy painting, and God bless, my
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498. friend.
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