[Music] Hi, welcome back to the painting studio.

I'm Nicholas Hankins and it's my pleasure to guide you through another Bob Ross wet on wet style painting.

So come on up to the canvas and let me tell you what's, what's happening up here.

A lot.

I've got an 18 by 24 inch pre-stretched, double-primed canvas.

I have covered it with some black gesso, but in a very specific way.

I took a little foam applicator and I just kind of made the impression of some little trees in here just by, pat, pat, pat, pat, tapping around, I kind of turned the brush up sideways and scrubbed it when it started to run out of paint.

And down here, I just filled it all in.

Over on this side, I took a crumpled up piece of paper towel in the black gesso and just kind of patted around, tapped and turned and thought about a little tree shape.

And when that was getting starved for paint, I came back here and just kind of with sweep, sweep, sweep, sweep, sweep and made a little indication of a, a distant hill, just covered with trees.

When all that was finished.

I coated the bottom portion with some liquid clear and a, and a little mixture of almost equal parts midnight, black and Prussian blue.

To the upper portion up here I've just applied some liquid white as normal so we're caught up now.

[chuckles] Let's, let's come on up to the canvas and get started.

I'm going to take my two inch brush and pick up a little bit of Indian yellow, just a little touch.

Just a little touch.

And let's come up here, just dance a little bit of a, a warm glow into the sky back in here.

Just kind of evening sun starting to, starting to peek through the trees and over the horizon.

This is, this is from a photograph I took on a hike many, many, many years ago.

I'll go ahead and actually just wash that color out of the brush so I'll wash my brush out in some odorless paint thinner, shake out the excess, beat the devil out of it.

We have, we have performed the ritual so...

I see one inch, two inch, what do I want to use?

Let's go, let's go back with the two inch again.

Just make sure it's good and dry.

Nice and dry.

Pick up a tiny little touch of the phthalo blue.

Don't need very much.

Tap that into the brush just a little bit.

Just a little bit there.

And let's come back up here and we're going to put a little color in the upper sky now.

And I've got to be a little bit careful and mindful of the fact that I've got blue and yellow right next to one another.

And unless I want, specifically want, some green in the sky, which isn't always a bad thing really, but I don't, I don't really want it in today's painting, so I've just got to be careful and not quite let those touch.

Instead I'll set that brush aside, I'll grab another clean, dry brush and just where the two almost touch then I'll soften.

That way we've get a nice little combination of blue and yellow in the sky with, without it turning brilliant, bright green.

That's what I'm looking for today.

All right, let's grab a little fan brush, pick up a little touch of titanium white.

I'm just going to put a few little wispy clouds back here in the sky.

Kind of floating, floating around.

Little cradle type strokes, they're just kind of bouncing around, having a good time.

Little wispy strokes across the sky.

Something about like that.

And that's pretty much all I'm interested in.

There was a little humidity in the sky that day, but not very much.

There we go.

While I've got that, that two inch brush in my hand, I think I'll pick up just a little more titanium white, kind of on one corner of the brush.

And let's put a little brighter glow just over these trees.

See, having these already, already painted in, we're going to make this a little hazier.

Having this already painted in with black gesso I can go right over the top of that and just sort of diffuse those trees like there's some sunshine glow coming through there.

You can even, you can even take this and kind of pull some little sunrays coming through there if you want.

That's kind of a neat, neat effect.

And I'll wipe that brush out and soften and just a little bit so they're not too strong.

I don't want that to get distracting by any, by any means.

All right.

Good enough.

Good enough for now.

Okay.

Let's grab a little titanium white.

Oh, we want to use today a little Prussian blue, midnight black, a little touch of Alizarin.

Kind of aiming for a, aiming for a little lavender color.

Ooh, about like that.

That's just exactly what I was looking for.

Sometimes you just luck out.

[chuckles] Sometimes you luck out and it works.

So I'll take my, take a little one inch brush now and just pick up a touch of that lavender color and let's come back.

Let's come back here and just kind of enhance our little hill.

Now, I'm not necessarily trying to cover over all of that gesso work I did.

I just kind of on enhance it a little bit.

I just want it to have a little color.

If I can still see some of that coarse texture showing through there, that's great.

I want it to look like a hazy hillside full of trees away, way, way off in the distance.

Just sort of mysterious back here.

What you can do with this black gesso, ah, it'll blow your mind.

It's just amazing.

You can make some of the neatest effects.

You just have to, just have to get it out and try it, mess around with it, see what you come up with.

You have to experiment, see what works.

That's the only way to figure it out.

But you can.

You can create some of the most beautiful things.

I'm just going to graze over that a little bit, kind of push it into the, into the background, make it nice and soft and pretty.

There we go.

A little, little haze in that valley.

Maybe, maybe we even bring it down just a little lower.

Let's add just a little more white to our brush again, bring a little sunshine down a little lower.

That's kind of a, kind of a cool effect.

I just don't want that to get too strong.

There we go.

Now we can just kind of wander back through there and see what we can find.

All right.

Go back to my little fan brush here that's got the white on it.

This was my cloud brush a moment ago.

I'm going to pick up some, I'm just going to brush mix here, some midnight black, some of the blue, some sap green, maybe a little Van Dyke brown too.

Got sap green, Van Dyke brown, Prussian blue, midnight black, just all those colors mixed into that lavender.

I've got kind of a medium green.

Let's come back here and check it out.

Oh, yeah, that'll work nicely.

I have some little, little distant evergreens back here.

Just, just quiet little things.

Just little hints and indications.

They barely, they barely show up back there.

Where else do we want?

Maybe, maybe there's a little tree top right there we can see.

Just a few little things back here.

And along and around the base, I'm going to take, that's a little too bright, let's go back to our two inch brush.

Yeah, that's better.

Let's just tap the base of that.

Kind of let these dissolve into that haze.

Hazy atmosphere.

This is, this was a special place out in Oregon.

Out near Silverton, Oregon.

Beautiful area.

Beautiful area.

Just take that same dirty brush once more.

I'm going to pull it through some cad yellow.

We'll come back here and put a little, just a little taste of sunlight on these trees.

But I don't want it to get too, too bright and too loud.

Just [Nic makes "tooo, tooo, tooo" sounds] let it disappear off into the mist.

[Nic makes "tchooka, tchooka, tchooka, tchooka" sounds] Very, very quiet back there.

Blend them in, just bounce around.

Blend the bottom a little bit.

Okay.

Remove our, remove our remnants here.

And we're going to get real dark and, and serious.

[chuckles] Got to get serious.

Bunch of Prussian blue, black, Van Dyke, brown, crimson, sap green.

Big, healthy dose of really, really, really dark color.

I don't really care too much whether this is to the black side, the green side,the blue side, or the brown side.

Well, maybe we don't want it too far to the brown side, but as long as I've got a very, very dark color, one that's sort of greenish bluish, it's going to be a tree, tree base color, so I guess they were brown trees.

It'd be more of an autumn scene.

But I'm going to load this fan brush absolutely full of that color.

Absolutely full of that color.

Hopefully, you can see just, just how much paint I have in that brush.

Loaded way down to the ferrule.

Now, let's come up here and we're going to have a big, big honkin' tree right there.

And we're going to join him already in progress.

Here we go.

Comes bounding down into the, into the canyon down here, something like that.

Let me get just a little, whew, just a little touch of paint thinner with that help it come off the brush.

He's got a buddy that kind of leans out about, yep, about that right there.

Got a little bit of a, little bit of a lean to him.

He's a lean to tree.

I'm going to start with just the corner.

Start working your way down, back and forth those old branches get bigger and bigger and bigger, bigger boughs as you come down.

You can use more and more of the brush to clean off the bottom of the canvas.

I know that's hard to see down there right now, but you just, just stick with me for a minute.

We're going to, we're going to flash light them.

We're going to make them show up.

Have another little tree right there.

He has cohorts, amigos.

Don't want our trees getting lonely out here.

Well, Oregon, you're not going to have many trees lonely in Oregon.

All kinds of pretty Douglas firs out there.

Just, just all manner of just all manner of trees.

It's a place I'd like to go back and visit sometime.

I haven't been out there in a long time.

Now.

They're a little, they're a little flat and dark right now but let's give them, let's give them some TLC and we'll pretty them up.

Let's first come in here and just, just kind of give them a little more definite tree trunk.

This is just Van Dyke brown and dark sienna.

He's a big tree, so I'm giving him a pretty healthy trunk.

And there's quite a bit showing.

These aren't quite as full as some of the other trees we painted.

I'm going to add a little white to that, make it a little brighter.

Come over here on the sunlit edge.

Give it a little touch of highlight, just in a few, few spots.

[Nic makes "tchoo, tchoo, tchoo, tchoo" sounds] Kind of like that.

There we go.

Scratch few little branches and sticks and twigs hanging off of there.

Now, let's come back and grab our brush that's got the highlight color going.

I'm going to add a little, I don't know, a little phthalo green.

That's always pretty.

Indian yellow.

Just change it up a little bit and let's come back and give them some real pretty highlight here.

I need just a little liquid white with that.

Sometimes it works without it, sometimes you need it.

Yeah.

There we go.

And I'm just going to let these get darker, darker, darker, darker, darker, darker as you work down into the valley there.

Nice and bright at the top.

Darker, darker, darker, darker.

Nice and bright out there and then darker, darker, darker, darker, darker.

Take just a little blue and mix in with it, make an, make an even darker green.

Even darker green.

Put a little shadowy green here and there.

This changes the, changes the flavor a little bit.

Go back to my big brush.

I'm just going to pounce on the bottom a little bit, kind of stir it up, make it feel a little, a little misty and, misty and foggy or froggy, depending on your outlook.

[chuckles] Now, let's come on, let's come on forward in the painting.

We'll grab, we'll grab a little two inch brush, load this brush up full of that dark green color.

If I remember correctly, there's a little tree that just kind of hung in, hung in off this edge.

It was, it was a leafy tree.

Just kind of hanging out and hanging over the edge a little bit.

I've got another one on the other side, kind of did the same thing.

I've already pre-darkened it just a little bit in case we can get some of that beautiful stuff to show through.

It'll feel like, feel like it's a little deeper, a little more interesting.

See some background stuff back there in those gesso shapes.

We don't have to try to cover them up.

We just, again, just want to enhance them a little bit.

That's half the fun of using this gesso.

Just seeing how you can incorporate it, make it, make it do neat things.

Just kind of, kind of comes on down like this.

There's a, if you were there and you could look over to the side, there's a big waterfall drops hundreds of feet just, just right there.

I was looking back across the valley.

Super pretty place.

One I would ten of ten definitely recommend.

Alright, let's take a little bit of the browns.

Just reach over here and grab a little white.

It'll kind of mix with it.

On one side of the brush, I've got dark on, dark on one side, a little lighter on the other side.

Dark on one, lighter on the other.

Let's come in here and draw up a little, little tree trunk into our scene.

Tree trunk or two or three.

That's working pretty good.

There we go.

If it ain't broke, don't fix it.

Just keep going.

Put a few little arms on those trees.

Knowing full well I'm going to lose some of this detail, so we're not going to hang out in here too long messing around with tree branches but we do need a few just in case they peek through.

There we go.

All right.

I even need one or two over in this, this old tree here, just in case somebody wanders up to our painting and looks real close.

They're not supposed to do that though.

They're supposed to stand a little distance away and look at it.

You always, you always have that one wanders up and looks real close.

[chuckles] But that's okay.

We painted a little something in there for them to.

All right.

Remove some leftovers here and I'll take my little one inch brush, maybe go back into all these yellows.

Little touch of liquid white with it.

Take and get just a little dip.

There we go.

Maybe some sap green.

Just nice variety.

Nice variety.

Let's come back and drop some, drop some little highlights on these trees.

I'm just outside the dark and working our way down.

I'm going to let it get a little darker, darker, darker, darker as it works its way down and in.

Maybe we need to take some of that base color, a little bit of that dark original base color and hit it.

Tap it into the brush.

Yeah, a little more like that.

Just let that kind of hang out.

Hang out and have a good time.

There were some little wispy things growing down here.

I'm not sure what type of a plant this was, but it was sort of a viney situation here.

We had like a little, little stalk and just some, just some leaves that kind of dangled.

The sunlight lit it up, though, and just sort of made them made them glow.

They looked real pretty.

So I want to be sure I include them, whatever they are.

As Bob used to say, "just little indications of things living far away."

[chuckles] Some little wispy stalks in there with them, too.

There we go.

Better put some leaves on this old tree, too.

I'm going to let it be a little brighter.

It's a little more in the, in the direction or in the path of the sunlight so we'll load this up full.

Just put some beautiful little, little clusters of foliage in this tree.

All kinds of nice little things in there.

Just whatever you do, save some of that dark.

It's so important.

I can't say that enough.

If you cover all that dark, you're going to be upset.

It's going to get flat.

It's not going to look like very much.

And I think, jeez, I had this had this gorgeous dark area and it just needed a little flick of light on it and I stomped that sucker flat.

Don't let that happen to you.

[chuckles] Don't let that happen to you.

You have been warned.

There we go.

Just enough to, just enough to give it a little shape.

Now, down here along the bottom we'll change, we'll kind of change our technique a little bit.

I'm going to grab some of that.

I'm going to darken that color with some of the base color, all those yellows and a little bit of that base color.

Let's come back in here, I want to just take the corner of the fan brush and just kind of, just kind of pop it.

Just kind of pop it in there, give it a little squash and then keep on moving.

Paint some little plants that just sort of gather around here on the on the ground along the rock.

This whole, this whole area sort of, sort of exists on, on lava rock.

Volcanic rock.

It's such an interesting landscape, so different from down here in Florida or even I'm from originally back in Tennessee.

Just a fascinating landscape.

I really, I really fell in love with this place.

It was so pretty.

Speaking of that rock, we'll, we'll kind of take some Van Dyke brown and give ourselves a little indication of that happening here.

Just lots of, lots of rocky edges, ledges.

Sort of wander over and tip down.

There we go.

Then we'll take a little titanium white, a little touch of that brown's fine.

I want to add some midnight black to it.

Sort of gray it up.

The rocks have sort of a gray cast to them.

Cut off a little roll of that color.

Now we'll give that some beautiful texture.

Maybe a little sienna once in a while just to, just to give it some variety.

Just let that, let that kind of wander, wander around however you want it to.

Just think like a rock.

Add a little blue, blue and alizarin to my color and we can sort of indicate a little, little shadowed side on these rocks.

Just kind of moving in the opposite direction.

They're almost like little baby mountains.

Don't need too much of that though.

Don't need too much.

Soften it on the edges.

Come back with our little, little fan brush and plant some stuff, plant some stuff in between the rocks and in front of the rocks growing on the rocks.

[chuckles] Make them feel like they belong there.

Clean that brush out just a little bit.

I'm going to grab just a touch of the liquid white.

And we're going to get a little lighter, a little lighter.

Let the sunlight just play on some of these top edges out here along the canyon.

[Nic makes "psh, psh, psh" sounds] Just a little like that.

And the day I was there, [chuckles] a tree had fallen and it was right there.

Just fell right across that scene.

So striking, so striking.

It fell and then the top got tiny, tiny, tiny.

And it fell right there.

[chuckles] I was sort of tempted to crawl out there, but I, I wasn't that brave.

I figured if was going to give way it would give way with me on it.

Take just a little touch of highlight color and we'll, we'll give it some texture, like old bark being lit up by that afternoon sun.

Make it rough looking.

There we go.

Take a little, a little light color on a liner brush, and there's just a maybe a little scraggly branch or two hanging on.

Clinging, clinging on for dear life.

It's times about up.

It'll, it'll eventually rot and fall into the creek, fall over and tumble over that waterfall.

Sort of envy the people that are there for, for that to happen and get to see it.

Last thing I want to do here before I let you go is just take a little liquid white, some titanium white.

I'm going to sort of chisel that brush up, take a little bright red and alizarin.

And growing out on the ledge as well was just some little, little foxglove flowers that kind of, that kind of look like that.

Just long things - have little bell shapes.

Cute.

Cute little flowers.

Give them a little stem.

There we go.

We'll call this old painting finished.

Hope you enjoyed this visit to the Silver Falls Canyon, and I hope to see you 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]