>> HI, I'M JIM ARNOSKY.

I'M AN AUTHOR AND AN ARTIST OF BOOKS THAT INVESTIGATE AND CELEBRATE NATURE.

THIS SHOW IS BASED ON ONE OF THOSE BOOKS.

IN THE NEXT FOUR WEEKS, I HOPE YOU WILL STAY WITH ME.

I WILL TAKE YOU OUTDOORS TO SOME WE WILL -- WE WON'T BE DOING ANY SKETCHING BUT LOOKING AND EXPLORING AND EXPERIENCING AND WE'LL BE UNDERSTANDING THE NATURAL WORLD, AND WHEN WE COME BACK WE WILL BE DOING DRAWINGS BASED ON THE THINGS THAT WE HAVE SEEN, AND I WILL BELCH YOU THE DRAWINGS YOU DO AFTER YOU SEE EACH SHOW WILL BE BETTER BECAUSE YOU WILL BE UNDERSTANDING THE SUBJECTS YOU ARE DRAWING.

WE WILL BE DRAWING LAND AND WE WILL BE DRAWING PLANTS, AND EVENTUALLY, WE WILL BE DRAWING ANIMALS, BUT THE FIRST SHOW WE ARE GOING TO START AT THE BOTTOM, AND WE'RE GOING TO START JUST BY EXPLORING AND LOOKING AT AND COMING BACK AND DOING A DRAWING OF WATER.

>> DRAWING FROM NATURE IS MADE POSSIBLE IN PART BY A GRANT FROM THE [INAUDIBLE] FOUNDATION.

♪ ♪ ♪ ♪ ♪ >> I CAN'T RESIST WATER.

IT REFRESHES MY SENSES.

IT GREETS MY CURIOSITY WITH A GLISTENING INVITATION TO EXPLORE.

WATER COVERS THREE QUARTERS OF THE EARTH'S SURFACE.

IT SHAPES THE LAND AND CHANGES THE WEATHER.

WATER CAN BE LIQUID, AS RAINFALL, SOLID, AS ICE OR SNOW, AND AS FOG OR STEAM.

THE MAIN INGREDIENT IN EVERY LIVING ORGANISM IS WATER.

AS MUCH PLANS AS -- AS MUCH PLAS WATER IN HERE, LIKE CANOEING THROUGH A LAWN.

SEE WHERE THIS CHANNEL GOES.

THERE IS SOMETHING FAMILIAR AND MYSTERIOUS ABOUT A BODY OF WATER.

THIS PLACE HERE IS OOZING JUST OOZING WITH LIFE.

AS FROGS, AS TADPOLES.

FISH.

AQUATIC INSECTS.

DRAGON FLIES FLYING AROUND.

PLANTS EVERYWHERE.

WATER PLANTS.

BROADLEAF ONES, AND LEAFY ONES, ALGAE.

SCUM.

I GUESS THAT STUFF IS ALIVE, TOO, IT LOOKS LIKE IT MIGHT BE ALIVE.

OF COURSE ME, I AM ALIVE.

AND THE SOUNDS OF BIRDS ALL AROUND.

THEY ARE JUST SINGING OUT THERE, SINGING, I AM ALIVE.

THIS IS GREAT, THIS IS THE PLACE TO BE IF YOU WANT TO PUSH YOUR WAY THROUGH.

THROUGH NATURE.

LOOK HOW STILL THE WATER IS RIGHT HERE.

IT'S NICE AND QUIET.

QUIET IS A BETTER WORD FOR IT, I GUESS.

IN STILL WATER, REFLECTIONS, WELL, IT MAKES SENSE, WELCOME BACK INTACT AND VERY CLEAR, AND WHEN YOU ARE DRAWING STILL WATER, THAT'S ONE WAY TO MAKE IT LOOK STILL IS TO MAKE WHATEVER IS REFLECTING INTO THE WATER MAKE THAT N REFLECTION CLEAR, AD THE MORE YOU DISTURB THE REFLECTION IN YOUR DRAWING OR THE MORE, MORE YOU DISTURB A REFLECTION, THE LESS STIRRED THE WATER LOOKS -- WELL, BECAUSE IT IS NOT STILL IN ANY MORE BUT IN A DRAWING THAT'S HOW YOU WOULD SUGGEST STILL WATER.

IF YOU WANT TO SUGGEST STILL WATER IN A DRAWING YOU MAKE THE REFLECTIONS LOOK CLEAR, SOLID, UNBROKEN.

YOU WANT TO MAKE THE WATER LOOK A LITTLE MOVEMENT IN THE WATER, AND YOU WANT TO MAKE IT LOOK LESS STILL, AND A LITTLE WIND OVER THE WATER, YOU WORK ON THAT REFLECTION AND MAKE IT LOOK BROKEN UP.

LESS SOLID.

SEE.

SEE HOW -- YOU BREAK UP THE NEXT IN YOUR DRAWING.

BUBBLES, I AM JUST -- ARE JUST BLURBS.

AS THEY TRY TO GET OUT IT CHANGES THE SHAPE OF THE BUBBLE.

I AM NOT GOING TO DRINK THIS.

I JUST WANT TO SHOW YOU SOMETHING.

THE SLIGHTEST BIT OF WATER WILLY SURFACE IT FLOWS OVER.

THE GREATER THE FLOW, THE WIDER THE GROOVE.

EVERY STREAM, WHETHER IT'S A TINY MOUNTAIN BROOK OR A MAJESTIC RIVER IS SIMPLY WATER RUNNING WITHIN THE BANKS OF ITS OWN WORN GROOVE.

IT'S THAT SIMPLE.

I CAN'T TALK ABOUT WATER SO MUCH AND BE AROUND SO MUCH WATER WITHOUT TRYING MY LUCK AT LEAST FOR A FISH.

OOPS.

ALMOST GOT ONE.

SOMETIMES I THINK THAT I LIKE TO FISH AS MUCH AS I LIKE TO DRAW.

STREAMS INFLUENCE EVERY INCH OF LAND THAT THEY FLOW OVER.

AND IN TURN, THE LAND INFLUENCES THE STREAM.

EVERY TIME A STREAM TURNS, THE WATER IN THE STREAM SHIFTS TO THE OUTSIDE OF THE TURN, YOU KNOW, LIKE WHEN YOU ARE RIDING IN A CAR, AND ALL OF A SUDDEN EVERYBODY TURNS, WHEN THE CAR TURNS EVERYBODY SHIRTS TO THE OUTSIDE, SO IT'S A ONE SIDE OF THE CAR WHEN YOU ARE GOING AROUND THE BEND.

THAT'S WHAT HAPPENS IN A STREAM.

AS THE STREAM TURNS, MOST OF THE WATER VOLUME SHIFTS TO THE OUTSIDE OF THE TURN.

IT DIGS OUT BECAUSE THERE IS MORE WATER VOLUME ON THE OUTSIDE OF THE TURN.

IT DIGS OUT OR UNDERMINES THE OUTSIDE, THE BANK ON THE OUTSIDE.

ON THE INSIDE OF THE BEND, IT'S USUALLY GENTLY SLOPED.

THIS HAPPENS EVERY SINGLE TIME THE WATER TURNS.

THIS REPEATS ITSELF IN ANY STREAM, NO MATTER HOW BIG THE STREAM IS, ALL THE WAY DOWN THROUGH THE COURSE OF THE STREAM.

THE OUTSIDE OF THE STREAM BEND IS USUALLY A LITTLE -- IS UNDERMINED OR A LITTLE BIT ERODED, AND WHERE THE INSIDE OF THE BEND IS GENTLY SLOPED.

I AM GOING TO CAST RIGHT OVER TO THAT UNDERMINED BANK.

YOU KNOW, I CAN SEE RIGHT HERE THIS IS GOING TO BE OUR DRAWING SCENE.

WE WILL DO THE RIVER BEND.

BEFORE WE DRAW IT, WE HAVE TO LOOK OVER THIS THING CLOSELY.

WE ARE GOING TO HAVE TO LOOK AT EACH THING IN PARTICULAR TO SEE HOW MUCH WE CAN LEARN ABOUT WHAT HAPPENS WHEN ALL OF THIS WATER -- IT DOES NOT LOOK LIKE A LOT OF WATER BUT ENOUGH TO PUSH YOU OVER, WHEN ALL OF THIS WATER MAKES SUCH A TURN.

LOOK AT THIS RIVER BEND WITH ME HERE.

FIRST WE LOOK AT THE OUTSIDE OF THE BEND.

WHERE THE WATER STARTS TO MAKE ITS TURN, IT PUSHES A LOT OF SAND UP FROM THE BOTTOM ONTO A SHOAL, AND THEN AS THE SHOAL TAPERS OFF, THAT'S WHERE THE WATER BEGINS TO REALLY TURN AND DIG INTO THE BANK.

YOU CAN SEE THAT OVER WHEN IS THE ROCKS THAT ARE IN THE STREAM BED OR THE ROCKS NEAR THE STREAM BED ARE ROUNDED.

THEN A BIT UP WHERE THE RIVER DOESN'T NORMALLY FLOW, EVEN DURING FLOOD TIME, THE ROCKS ARE MORE ANGULAR.

FARTHER ALONG, THE BANK BECOMES MOR AND MORE ERODED.

YOU CAN SEE LESS SOIL AND MORE ROCKS, AND THE VEGETATION, TREES, BRUSH, IS BENDING IN TOWARDS THE STREAM BECAUSE THE SOIL HAS BEEN ERODED OUT FROM UNDERNEATH, AND THEN THE STREAM PULLS OUT OF ITS TURN AND QUICKENS ITS PACE AND HEADS DOWN TO THE NEXT TURN, OR FOR THE NEXT STRAIGHT STRETCH IF THAT'S WHAT'S NEXT.

HERE, YOU CAN SEE THAT SLOPE AND BANK ON THE INSIDE OF THE TURN REAL GOOD HERE.

THAT SLOPE KEEPS COMING DOWN.

IT SLOPES.

SLOPES.

IN FACT, I WILL GO IN OVER MY -- OH, I WET MY PANTS THERE.

THAT SLOPE GOES ALL THE WAY DOWN TO THE DEEPEST PART.

TURN.

WHEN WE DRAW THAT, WE WILL REMEMBER THAT THE SLOPE DOESN'T STOP HERE.

IT KEEPS SLOPING.

NOW, I AM AT THE END OF THE BEND, THE WATER IS STARTING TO PICK UP AGAIN.

IT WANTS TO KEEP GOING AND GET ON ITS WAY DOWN THE STREAM, AND YOU CAN SEE THIS IS AN INDICATION OF THE MOVING WATER NOW.

IT IS STARTING TO PICK UP SPEED.

ANY PLACE IN THE STREAM WHERE THERE IS AN OBSTACLE LIKE THIS, A SMALL POOL OF QUIET WATER FORMS BEHIND THE OBSTACLE.

IT DOES NOT HAVE TO BE A STATIONERY OBSTACLE, EITHER.

I AM AN OBSTACLE RIGHT NOW IN THE STREAM.

THERE IS A SMALL POOL FORMING BEHIND MY LEG.

CAN YOU SEE THAT?

EVEN THE FLY, LOOK.

EVEN THE FLY -- THERE IS A SMALL POOL OF WATER FORMING BEHIND THE FLY THAT'S FLOATING ON THE SURFACE.

THIS ACTION OF THE WATER MOVING AROUND AN OBSTACLE IS AN IMPORTANT POINT TO REMEMBER WHEN WE ARE DRAWING BECAUSE IT'S ONE WAY IN YOUR DRAWINGS THAT YOU CAN INDICATE WHICH WAY THE WATER IS FLOWING IN YOUR PICTURE.

WHEN I DO A DRAWING, PEOPLE KNOW WHICH WAY THE WATER IS GOING BECAUSE OF THESE LITTLE TRICKS.

THEY ARE NOT TRICKS, THOUGH.

THEY ARE OBSERVATIONS.

BOY, WHAT A DAY.

TO BE OUT FISHING.

I WILL NEVER GET BACK TO THE DRAWING BOARD AT THIS RATE.

PUT A NEW FLY ON.

I FIGURE, COMING TO A NEW BEND IN THE STREAM, EACH NEW BEND IS WORTHY OF A NEW FLY, AT LEAST.

BEFORE WE LEAVE THIS BEND, THOUGH, I WANT YOU TO TAKE ONE MORE LOOK AT THESE RIPPLES.

SEE HERE, WHERE THE WATER RIPPLES BY ME?

RIPPLES IN A STREAM INDICATE SHALLOW WATER, THE REASON THAT THE WATER RIPPLES IS BECAUSE THE SHALLOW WATER BRINGS THE BOTTOM OF THE STREAM CLOSER TO THE SURFACE OF THE STREAM, AND THE SURFACE OF THE WATER RIPPLES OVER THOSE OBSTRUCTIONS AND STONES AND BOULDERS AND WHATEVER THAT'S ON THE BOTTOM OF THE STREAM.

THOSE RIPPLES CONTINUE UNTIL THE WATER GETS DEEPER.

DOWN THERE WHERE THE RIVER BENDS AGAIN, THERE IS A DEEPER STRETCH OF WATER.

YOU CAN SEE BECAUSE IT GETS STILL.

STILL WATER DOES RUN DEEP.

YOU SEE HOW THE FLY, EVEN WHEN THE FLY HITS THE WATER, IT MAKES A LITTLE RING WHEN IT HITS THE WATER.

ANYTHING THAT HITS THE SURFACE OF THE WATER, WHETHER IT'S A SUN FISH KISSING IT FROM BELOW OR A RAINDROP HITTING IT FROM ABOVE, CREATES A WATERING THAT WIDENS UNTIL IT FINALLY DISSIPATES.

IF YOU ARE IS A FISHERMEN, OF COURSE, ANY WATERING WHISPERS FISH.

♪ ♪ ♪ OKAY.

HERE WE ARE, AND WE HAVE A NICE BLANK PIECE OF PAPER TO USE WITH THE PICTURE.

IT IS KIND OF LIKE WRITING WHERE YOU TAKE YOUR PIECE OF PAPER OUT OF THE FOLDER, AND IT'S BLANK, AND YOU HAVE TO FILL IT WITH WHAT'S IN YOUR MIND, AND WHEN YOU ARE DRAWING, AND DRAWING FROM NATURE YOU, YOU TAKE THE EXPERIENCES AND THE UNDERSTANDING THAT YOU GOT WHILE YOU WERE OUT THERE, AND YOU SOME HOW GET IT ON THE PAPER.

BEFORE I START, THOUGH, DRAWING OUR RIVER BEND I WILL SHOW YOU MY TOOLS.

ALL I USE IS A SOFT LEADED PENCIL, ASK A TINY SHARPENER TO KEEP THAT SHARP WHEN I WANT IT SHARP.

AND AN ERASER.

THESE CAN BE SHAPED INTO ANY SHAPE THAT YOU WANT TO MAKE THEM SO THAT IF YOU WANTED TO JUST ERASE A SMALL PIN DOT AREA, YOU COULD.

THAT'S MY TOOLS.

AND, OF COURSE, I HAVE THIS NICE STOCK PAPER.

ALL RIGHT.

WE WILL START -- I ALWAYS LIKE TO START WITH A HORIZON LINE, OR WHAT I CALL A PLANE TO BUILD A PICTURE ON.

AND I WILL SKETCH IN THIS -- START ESTABLISHING THE RIVER BEND COMING AROUND THAT -- FROM THAT PLANE, AND AROUND ONCE AND COMING AROUND THE BEND THAT WE SAW.

NOW, THE BACKGROUND WILL MAKE A SIMPLE MOUNTAIN FOR NOW, JUST TO GIVE US A SENSE OF BACKGROUND.

AND WITH THAT, WE SET OUR SCENE.

HERE ON THE INSIDE OF THE TURN, WE HAVE A GENERAL SLOPE, VERY SANDY, GENTLE SLOPE.

THAT GOES DOWN, IF YOU RECALL, THAT I SAID IT GOES DOWN.

TO THE OUTSIDE OF THE TURN.

WHERE IT IS AN UNDERCUT BANK BUT BEFORE THAT, I WILL ADD SOME STONES ON THIS SLOPE, AND THE CLOSER TO THE WATER, THE STONES, MORE ROUNDER THEY WILL BE BECAUSE THAT'S DURING THE SPRING RUN--OFF OR DURING THE HIGH WATER PERIODS THAT THEY WOULD BE INUNDATED AND PART OF THE STREAM BED, AND THE FARTHER UP WE GO ON THE BANK THE MORE ANGULAR THE STONES WILL BE.

JUST MAKE THEM MORE SQUARED OFF AND RAGGED AS WE GO UP.

HAVE OUR STREAM PASS BY THESE HARDWOODS, GIVE US A BIT OF A MID GROUND DETAIL.

PUT SOME HARDWOODS ON THE SANDY BANK HERE, UP FAR ENOUGH WHERE THE GROUND IS MORE STABLE.

LIKE THIS.

AND EVENTUALLY, WE CAN, IN A BIT, WE WILL PUT THE DETAILS IN ON THOSE.

THE LITTLE STONE UP HERE ON THE SANDY BANK, AND BACK DOWN TO THE WATER, AND WITH THE INSIDE OF THE TURN ESTABLISHED WE WILL WORK ON THE OUTSIDE OF THE RIVER BEND, AND THIS IS WHERE THE WATER SHIFTS TO THE OUTSIDE OF THE TURN AND STARTS TO DIG AWAY THE OUTER BANK TO MAKE THIS WATER LOOK STILL AND DEEPER ON THE UNDERCUT, WE ARE GOING TO PUT LITTLE BITS OF DETAIL, LIKE I WILL PUT THIS BOW BOULDER THAS SITTING THERE PERCHED, AND I WILL SUGGEST THE REFLECTION IN THAT STALE WATER.

THIS HIGHLIGHT OF LAND, SEE, WE CAN JUST SUGGEST A BIT OF A REFLECTION IN THE STILL WATER, AND SEE HOW THAT LOOKS LIKE IT'S BEING REFLECTED INTO THAT POOL?

I WILL SHOW YOU ANOTHER ONE, A MORE DRASTIC ONE.

HERE, WE WILL DARKEN UP ANOTHER ERODED CHUNK HERE, AND WE WILL MAKE A NICE BIG -- A NICE BIG PIECE OF LAND TO REFLECT INTO THE WATER.

WE WILL DO THE SAME THING, THE SAME ANGLE BUT ONLY BACKWARDS INTO THE POOL, SEE.

, SEE THAT.

I WENT TOO FAR, AND SOMETIMES YOU GET CARRIED AWAY WHEN YOU ARE DRAWING IT.

THERE, THE MORE THAT WE WORK ON THOSE REFLECTIONS, THE MORE STILL THAT WATER WILL LOOK IN THIS FAR SIDE OF THE POOL, AND THE DEEPER, CONSEQUENTLY THE DEEPER THE WATER WILL LOOK.

I AM NOT GOING TO GO ANY FARTHER BECAUSE I WANT TO PUT SOME OVERHANGING -- WELL, LET'S START NOW.

THIS WATER COMES AROUND, AND REMEMBER THE DEEPEST PART OF THAT TURN, IT STARTS TO UNDERMINE THE VEGETATION AND TREES AND EVERYTHING STARTS TO GROW INWARD AND LEAN TOWARDS THE WATER, SO WE WILL PUT IN A NICE SAY SOME KIND OF ALDER OR SOMETHING COMING IN HERE.

PUT IN A FEW LIKE THIS.

LEANING IN, INTO OUR PICTURE.

I SQUINT WHEN I DRAW, I DON'T KNOW WHY.

DO YOU?

I CAN SEE THE PICTURE MORE INTENTLY IF I SQUINT WHEN I AM LOOKING AT THE LINES THAT I DRAW.

YOU DO WHAT YOU HAVE TO DO.

SEE.

I AM GOING TO DEFINE THOSE, THOSE LEANING TREES A LITTLE BETTER, AND PUT IN ONE GOOD, BIG TREE, COMING IN OVER HERE.

NICE, THICK TREE LEANING IN OFF OF THIS OUTER BANK.

BY DOING THIS, WE HAVE, ACTUALLY -- WE COULD ACTUALLY SUGGEST THIS WHOLE OUTER W BANK WITHOUT HAVING TO DRAW IT.

BEFORE WE GO ON THE OUTSIDE OF THE BEND I WANT TO ESTABLISH THE INSIDE OF THE BEND A LITTLE BETTER, AND THIS SLOPE, IN ORDER TO MAKE -- I FOUND IN ORDER TO MAKE LAND LOOK GENTLY SLOPED, IT'S NICE TO BEND SHADOWS OVER IT, SO I AM CONSIDERING THAT WE HAVE A LIGHT SOURCE COMING FROM THIS ANGLE, AND I AM GOING TO USE EVERY POSSIBLE THING ON THIS SLOPE TO GIVE ME THAT ANGLE OF LIGHT.

DO YOU SEE THAT?

WE ARE GOING TO DO THIS.

THIS WILL BE A LONG SHADOW PART OF THE DAY.

YOU CAN SEE, YOU START TO MAKE THOSE SHADOWS JUST SORT OF GENTLY WRAP AROUND THAT PIECE OF LAND, AND IT WILL SLOWLY START TO TAKE A NICE SHAPE TO IT.

IT'S GREAT WHEN YOU HAVE SOMETHING TALL THAT DOES THROW A LONG SHADOW LIKE THESE TREES, AND I WILL JUST BRING THAT SHADOW RIGHT AROUND THIS PIECE OF LAND LIKE THAT.

EACH ONE OF THESE HAS TO BE SHADOWED IN THE SAME FASHION.

THE MORE WE SHADE THE THINGS ON THE PIECE OF LAND, IF YOU CAN SEE THAT, AS I WORK, THE MORE THAT THE PIECE OF LAND, ITSELF, STARTS TO GET A SHAPE TO IT.

YOU ARE NOT ONLY GIVING SHAPE TO THE THINGS ON THE LAND, BUT YOU ARE GIVING SHAPE TO THE LAND THAT THEY REST UPON.

LET'S SEE, MAYBE WE CAN MAKE -- SHOULD WE MAKE THIS A BIG BOULDER?

A BIG ANGULAR THING, AND OF COURSE, WE WILL COME DOWN AND ROUND OUT MORE AS WE COME TOWARDS THE WATER HERE.

THERE.

SEE, BEFORE I LEAVE THAT OUTSIDE BEND TO GO TO THE INSIDE TO WORK ON, I WANT TO JUST ESTABLISH SOME AREA HERE THAT WE ARE GOING TO HAVE MORE SHADING TO -- WITH THIS WATER WRAPS AROUND THIS BEND.

I WILL PUT THE REFLECTIONS IN.

I WANT TO -- I DON'T WANT TO FINISH THIS WATER, JUST ESTABLISH THE AREA WHERE THE TREE'S PRENEXT REFLECTIONS WILLN THERE.

THIS IS THE DEEPEST PART OF THE BEND UNDERNEATH THESE TREES HERE.

THE MORE REFLECTIONS THAT WE SHOW, THE STILLER THE WATER LOOKS.

THERE, THAT'S ALL THAT I WANT TO DO ON THIS SIDE FOR NOW.

EXCEPT, MAYBE I MIGHT AS WELL BRING A FISH UP TO THE SURFACE.

IT LOOKS PRETTY GOOD HERE.

THERE IS A WATERING.

I WANT TO SHOW YOU A TRICK.

WHEN YOU DO A RING ON THE WATER, WHEREVER YOUR WATER AREA, WHEREVER YOUR, YOU ARE DRAWING YOUR WATER, AND IT'S A LIGHT AREA, YOU MAKE THE RING WITH THE DARK LINE LIKE THIS, SEE.

AND WHEREVER YOUR WATERING IS OVER A DARKER AREA ON THE SURFACE OF THE WATER, YOU HAVE TO USE YOUR -- CAN YOU -- THERE.

YOU HAVE TO REINTRODUCE A BIT OF HIGHLIGHT OVER THERE LIKE THAT.

YOU CAN SEE THAT, THE MORE I -- IF I CAN GET THAT -- THERE, SEE.

SEE THAT LITTLE BIT OF WHITE?

NOW WATCH, I WILL WORK AROUND THAT WHITE AREA OF THE ELLIPSE.

SEE THERE?

SEE THAT?

JUST LIKE THAT.

THAT'S A RING ON THE WATER.

I WILL PUT A LITTLE BUBBLE IN THE MIDDLE.

YOU KNOW WHAT THAT MEANS?

IF YOU ARE A FLY FISHERMEN, A LITTLE BUBBLE IN THE CENTER OF A RISE FORM MEANS THE FISH TOOK SOMETHING OFF THE SURFACE BECAUSE AS HE GULPED SOMETHING OFF THE SURFACE, A BIT OF AIR COMES INTO HIS MOUTH WITH THE THING THAT HE ATE, AND THEN AS SOON AS HE GOES BACK UNDER THE AIR IT EXPELS THROUGH HIS GILLS AND MAKES A BUBBLE IN THE CENTER.

SO HERE WE KNOW A FISH CAME UP AND TOOK SOMETHING OFF THE SURFACE.

>>> THAT'S AS MUCH AS I WANT TO DO ON THE OUTSIDE OF THE BEND.

LET'S GO BACK OVER HERE.

BACK TO THE INSIDE.

I WANT TO SHOW YOU AGAIN HOW TO USE LITTLE LINE ACCIDENTS, I CALL THEM.

SAY YOU ARE DOING THIS AND JUST GIVING TEXTURE TO THIS, AND THEN SUDDENLY YOU CRISSCROSS A FEW LINES.

THAT'S WHERE YOU START ADDING TEXTURE.

YOU START USING THE WAY THE LINES HAVE NATURALLY FALLEN ON THE PAPER, AND JUST DELINEATE A FEW OF THEM, AND YOU ADD A FEW TEXTURAL BOULDERS, TEXTURED BOULDERS THERE, AND SEE THAT?

A LOT OF ARTISTS CALL THAT MAKING USE OUT OF ACCIDENTAL LINES.

PAINTERS ARE EXPERT AT THAT.

THERE WE GO.

OKAY.

WE ARE GOING TO BRING -- THERE, YOU SEE, THIS WAS OUR SLOPE.

AND REMEMBER, I WALKED DOWN AND DOWN AND DOWN AND RIGHT ABOUT HERE I GOT MY PANTS WET.

WELL, WE WANT TO MAKE SURE THAT SLOPE IS UNDERSTOOD IN OUR PICTURE, BUT WE DO WANT TO DRAW OVER IT BECAUSE WHAT WE ARE DOING IS DETAILING THE SURFACE OF THE WATER, BUT WE LEAVE THAT SLOPE LINE IN THERE, AND WE BRING OUR WATER AROUND AND LET IT WRAP AROUND, LET IT WRAP AROUND THIS RIVER BEND LIKE THAT.

YOU SEE THAT?

SO THAT SLOPE LINE IS STILL VISIBLE.

YOU SEE THAT?

YOU SEE THAT?

THAT SLOPE LINE IS STILL VISIBLE UNDER THE WATER.

AS OUR WATER COMES WORKING ITS WAY AROUND THE RIVER BEND HERE.

OVER HERE, WE ARE GOING TO START TO HIT SOME SHALLOW WATER, SO WE ARE GOING TO RIPPLE IS HERE.

WHEN YOU ARE DRAWING WATER MOVING WATER, YOU SHOULD ALWAYS TRY TO MAKE YOUR LINES GO IN THE DIRECTION OF THE WATER FLOW.

THAT GIVES IT A SENSE OF MOVEMENT.

LIKE THIS, SEE HOW I AM -- I AM COMING AROUND THIS BEND OUT OF THIS STILLER WATER OF THE TURN, AND I AM GOING TO START TO RIPPLE.

AND OF COURSE, SINCE WE HAVE SHALLOWER WATER AND WE HAVE RIPPLES, OR DISTURBED SURFACE, WE HAVE NO REFLECTIONS TO SPEAK OF FROM THESE PARTICULAR LAND OBJECTS, WHICH ARE NEXT TO THE WATER.

HOWEVER, WE WILL BE SEEING STONES UNDER THE WATER'S SURFACE, SO THAT'S WHERE WE START TO DRAW OUR ROUND STONES UNDER WATER'S SURFACE.

YOU DON'T HAVE TO WORRY ABOUT MAKING THEM VERY VISIBLE BECAUSE IT'S JUST THE WAY THAT WHEN YOU ARE AT THE STREAM, YOU HAVE TO LOOK HARD TO SEE THE STONES WHEN YOU ARE IN THE -- WALKING ALONG THE REAL STREAM, AND WHY SHOULD A PERSON BE ABLE TO LOOK AT YOUR DRAWING AND SEE THINGS SO CLEARLY?

MAKE THEM WORK A BIT, AND MAKE THEM LOOK FOR THE STUFF IN YOUR PICTURES.

IN FACT, I WILL PUT ONE GOOD SIZE OF A BOULDER HERE RIGHT IN THE MIDDLE OF THE STREAM BED.

SEE THAT?

BUT, BECAUSE THE WATER IS FLOWING THIS WAY, I AM GOING TO WEAR THE STONE DOWN MORE ON THIS SIDE AND HAVE IT MORE ANGULAR ON THE BACK SIDE.

SO HERE, THIS HAS BEEN THE PART, THE FRONT OF IT HAS BEEN BEAT BY THE WATER A BIT HARDER THAN THE BACK, AND IN FACT, THIS IS WHERE ONE OF THOSE QUIET POOLS FORMS RIGHT BEHIND THE STONE.

SEE THAT?

THERE COULD BE A FISH HIDING BEHIND THERE.

AND YOU COULD DRAW A SHADOW OF A FISH IN THERE.

THEY LIKE THE BACK OF THOSE BOULDERS.

QUIET WATER BACK THERE.

SEE.

THE WATER -- NOW, IF WE JUST LEFT THIS STONE BE SUGGESTED AT THE SURFACE OF THE WATER AND NO FURTHER, IT WOULD LOOK LIKE A WE HAVE TO BRING IT DOWN INTOO- THE BOTTOM OF THE WATER.

INTO THE BOTTOM OF THE STREAM BED WITH THE REST OF THE STONES IN HERE.

WE HAVE TO SUGGEST THAT STONE GOES DOWN.

OTHERWISE, IT'S GOING TO LOOK LIKE IT'S FLOATING.

I WILL PUT ANOTHER BOULDER.

OF COURSE, EVERY TIME YOU ADD A BOULDER, YOU HAVE TO SUGGEST ANOTHER SECTION OF QUIET WATER BEHIND IT.

LIKE THAT.

IS THAT MAKING SENSE TO YOU?

IT CERTAINLY MAKES SENSE TO ME.

IT LOOKS LIKE THE STREAM THAT I WAS WALKING IN.

I DON'T KNOW HOW -- WHAT YOU WERE LOOKING AT, BUT I SAW THIS STUFF.

THIS IS CLEAR WATER, NICE, CRYSTAL CLEAR TROUT STREAM.

YOU CAN SEE THE STONES IN THE BOTTOM, AND AT THE SAME TIME, YOU CAN SEE THE SURFACE RIPPLING BY.

THE LIGHT IS COMING FROM THIS WAY SO IT GIVES US A HINT TO EVERYTHING THAT WE SHADE HAS TO BE SHADED ON THE OTHER SIDE OF THE LIGHT DIRECTION.

I WILL MAKE THIS A NICE STILL SURFACE.

THIS IS THE QUIET POOL BEHIND THAT BOULDER.

A NICE QUIET POOL.

LOOK HOW QUIET THAT LOOKS.

STILL.

REALLY DOES.

AND THEN, OF COURSE, THE OTHER QUIET POOL BEHIND THIS ONE, AND RIGHT ABOUT HERE I WANT TO PUT AN OBSTRUCTION IN THE WATER LIKE THE ONE WE SAW WHEN I WAS COMING INTO THE RIPPLES.

WE WILL PUT A SUBMERGED STUMP OR BRANCH, IT WILL BE, SO HERE, WE WILL SUGGEST A BRANCH UNDER THE WATER.

THIS IS GOING TO BE EMBEDDED UNDER THE WATER, ACTUALLY, FROM TIME AND SILT, BUT THE THING THAT WE WANT TO HIGHLIGHT IS ONE BRANCH OF IT WILL BRING UP IT SHOULD SEE, THIS IS A SUBMERGED TREE, AND IT'S GOING TO BE WEATHERED AND WATER EATEN.

IT IS LAYING IN A WAY THAT HAS ONE OF THE BRANCHES STICKING UPWARD.

THAT BRANCH STICKING UP WILL BE OUR OBSTRUCTION IN THE SURFACE OF THE WATER, W WE WILL BRING TE SURFACE OF THE WATER AROUND THIS OBSTRUCTION AND FORM OUR POOL OF QUIET WATER BEHIND IT.

REMEMBER WHEN WE SAW THAT?

THIS IS HOW WE ARE SEEING HOW THE WATER IS FLOWING.

REMEMBER, I TOLD YOU, BY SEWING ON WHAT SIDE -- SHOWING YOU ON WHAT SIDE OF OBSTR OF OBSTRUCTIS THE WATER FORMS, THAT'S HOW YOU CAN TELL WHICH WAY IT IS FLOWING.

WE WILL PUT THE QUIET WATER BEHIND THIS OBSTRUCTION.

WE WILL SHADE THE OBSTRUCTION.

IN THE LIGHT IT WILL HAVE A MORE HARSH SHADING THAN UNDERNEATH.

UNDERNEATH IT WILL HAVE A MUCH MORE DIFFUSED SHADING, AND WE DON'T REALLY CARE TOO MUCH ABOUT THIS UNDERWATER PART.

WE WANT TO SHOW THAT'S WHERE THIS PARTICULAR STREAM OBSTRUCTION EMANATES FROM, AND IN FACT, TO MAKE SURE THAT WE PUT THIS PART OF THE BRANCH UNDER WATER WE ARE GOING TO TAKE THE ERASER AND JUST KNOCK OUT A FEW PIECES OF IT.

DO YOU SEE THAT?

YOU HAVE TO START WITH SOMETHING SOLID BEFORE YOU BREAK -- BEFORE YOU PLAY WITH IT, SO THAT'S WHY I AM SAYING, WE DREW IT, AND IN TOTAL, AND WE -- THEN YOU TAKE THE ERASER AND KNOCK IT APART A BIT TO SHOW THAT IT IS UNDER THE WATER AND NOT ON THE SURFACE OF THE WATER.

HERE.

LET ME DO A BIT OF WORK.

IT'S WHAT YOU DO AT THE SURFACE OF THE WATER THAT REALLY MAKES THE DIFFERENCE.

REMEMBER THE BUBBLES?

WE CAN ADD A FEW.

THE BUBBLES BEHIND THAT OBSTRUCTION INDICATES THAT'S A SHARP FLOW OF WATER RIGHT THERE.

OVER HERE I WON'T PUT ANY BUBBLES BECAUSE THAT'S A GENTLE WRAP-AROUND EFFECT WHEN IT GOES AROUND THAT -- THOSE BOULDERS, THOSE EXPOSED BOULDERS WE CALL THEM.

BUT HERE THIS IS A SHARP LITTLE PIECE OF TWIG STICKING UP, AND I WANT TO MAKE IT LOOK LIKE THE WATER IS FASTER OVER ON THIS SIDE.

I AM GOING TO ADD A FEW BUBBLES.

AS THAT WATER GOES BY THERE.

THE SURFACE OF THE WATER, BEFORE I GO ANY FARTHER HERE, REMEMBER, I TOLD YOU ABOUT A FISH RISING HERE.

THE MORE RINGS I PUT AROUND T THIS, THE FARTHER BACK IN TIME I PLACE THAT RISE BECAUSE AS YOU KNOW, WHEN YOU DROP SOMETHING IN THE WATER, IT WIDENS AND WIDENS UNTIL IT DISSIPATES, SO THE ONE WAY TO SUGGEST THAT IN THE DRAWING IS TO ADD SOME RINGS ON THE OUTER PART OF THE INITIAL CIRCLE ON THE WATER.

BEFORE I DO ANYTHING MORE TO THIS, TO THIS OBSTRUCTION STICKING UP HERE, I WANT TO ADD A JUMPING FISH RIGHT HERE.

I DON'T WANT TO DO MUCH MORE HERE BECAUSE THE FISH MAY TAKE UP OUR ROOM.

SO I AM GOING TO HAVE THAT FISH -- WELL, LET'S SAY THIS IS THE SURFACE AGAIN, WE DON'T WANT DO HAVE HIM -- THIS IS GOING TO BE WHERE HE WILL BE COMING OUT.

THE SURFACE OF THE WATER ON THE SAME ELLIPTICAL PLANE AS THESE.

HERE WE WILL HAVE OUR FISH COMING OUT OF THE WATER.

THE FISH WILL LEAP THIS WAY OUT OF THE WATER, BUT YOU KNOW, THEY DO, AND IT MAKES FOR A NICE DRAWING FOR TODAY.

WE WILL HAVE THEM COMING OUT FOR A REASON.

THIS WILL BE A TROUT.

THE OTHER DAY I WAS FISHING, I DIDN'T CATCH ANYTHING WHILE WE WERE OUT GETTING THIS PICTURE INTO OUR HEAD BUT THE OTHER DAY I WAS OUT FISHING AND WITHIN TWO HOURS, I CAUGHT WHAT I CALLED THE FINNEY TRINITY.

THAT'S ONE BROOK, ONE BROWN, AND ONE RAINBOW TROUT.

WHENEVER I DO THAT, I JUST STOP AND GO HOME.

IT'S LIKE HAVING A PERFECT SCORE OF BOWLING.

IF YOU STAY AND DO ANOTHER GAME YOU ARE A NUT.

YOU GO HOME WHEN YOU GET IT PERFECT.

OKAY.

THERE'S MY FISH LEACHING OUT OF HERE.

THE FISH ISN'T THE MAIN SUBJECT IN OUR PICTURE TODAY, ABOUT IT IS GOING TO GIVE US MORE INTEREST IN OUR WATER SCENE.

I WILL GET BACK UNDER WALTER -- BACK UNDERWATER HERE WITH TH.

SEE WHY I WANT TO GET UNDER WATER IS BECAUSE THE FISH WILL, ACTUALLY, HELP US TO DEFINE OUR WATER.

THIS IS THE REASON THE FISH WAS JUMPING IN THE FIRST PLACE.

I WILL PUT A MAY FLY HERE.

YOU WATCH THEM WHEN THEY ARE FLYING AND ALL THEIR LEGS HANG DOWN LIKE THERE AND THEIR WONDERFUL TAILS, YOU BARELY SEE THEM.

I CAN SEE THEM.

I LOOK FOR THEM.

THERE IS OUR MAY FLY.

THIS IS WHY THE FISH WAS COMING OUT OF THE WATER.

WE ARE NOT REALLY TALKING ABOUT FISH.

WE ARE TALKING ABOUT WATER, BUT I CAN'T GET MYSELF OFF THIS -- LET ME FINISH THIS A BIT ON THE FISH, OKAY.

MAKE ME HAPPY.

I TELL YOU WHAT, I WILL TALK ABOUT THE WATER AROUND THE FISH, WHEN YOU SEE SPORTING PICTURES WHERE THE FISH IS JUMPING OUT AND THE SPLASHING IS GOING AROUND ON THE SURFACE, THAT RARELY HAPPENS.

WHEN A FISH LEAVES THE WATER IT CUTS -- THE BODY IS BUILT FOR MOVING THROUGH WATER.

IT CUTS THROUGH THE WATER.

NO SPLASHES.

THE SPLASH MAY OCCUR WHEN THE FISH BE BELLY FLOPS BACK DOWN BT WE ARE NOT GOING TO SHOW A DISTURBANCE AS THIS FISH COMES THROUGH, AND WE WILL PUT A FEW BUBBLES AROUND HERE.

YOU SEE.

THIS MAKES IT LOOK REAL.

AND THIS IS NATURAL.

THE FISH JUST KIND OF SLICES THROUGH THE SURFACE OF THE WATER, AND THERE IS NO SPLASH.

UNDER WATER BODIES, YOU DON'T HAVE TO DETAIL THE SAME WAY THAT YOU WOULD BODIES THAT ARE -- OR THINGS THAT ARE ABOVE THE WATER IN THE DIRECT LIGHT.

SO FOR THE TAIL OF THIS FISH WE ARE JUST GOING TO COME UP, AND WE ARE GOING TO SUGGEST IT IN SHAPE.

JUST THE WAY THAT YOU WOULD SEE T YOU WOULD NOT SEE EVERY DETAIL OF A FISH'S BODY UNDER WATER.

YOU SEE JUST ENOUGH, AND OF COURSE, WE WILL TAKE THAT SHAPE AND WRAP IT WITH THE STREAM HERE TO MAKE IT BLEND INTO THE MOVEMENT OF THE WATER AM SEE THAT?

TAKE THAT SHAPE UP HERE AND BLEND THAT JUST A BIT INTO THE MOVEMENT OF THE WATER.

LIKE THAT.

IN FACT, YOU CAN TAKE THIS AND BREAK UP THAT BODY.

YOU CAN ACTUALLY BREAK THAT BODY UP.

SO THERE IS NOT A COMPLETE OUTLINE AROUND IT.

THAT KIND OF PUTS -- KEEPS SUBMERGING THE FIGURE UNDER WATER YET.

THE MORE YOU BREAK UP THAT COMPLETE OUTLINE, THE MORE THAT IT LOOKS LIKE IT'S UNDER THE WATER AND NOT ON THE -- NOT ABOVE.

YOU CAN WORK ON THIS SHADING ALL YOU WANT.

YOU CAN WORK ON THIS UNTIL IT GETS SO LOVELY AND SMOOTH.

SEE THAT?

WE HAVE GOT THE FISH ON THE SURFACE, OUT IN THE LIGHT, AND WE HAVE THE FISH, THE PART OF THE FISH UNDER THE WATER.

IT'S VERY CLEAR IN THE PICTURE.

THAT'S CLEAR TO ME, THAT FISH IS JUMPING OUT OF THE WATER HERE.

AND NEEDS I WILL PUT THESE ROUND BOULDERS AGAIN.

ROUND BOULDERS ON EITHER SIDE OF THIS OBSTRUCTION, THIS SUNKEN BRANCH.

THE FISH WOULD FLOW A SHADOW OVER THIS, EVEN THOUGH IT'S UNDER WATER, IT WOULD FLOW A SHADOW.

THE PART OF THE BRANCH UNDER WATER HERE.

THAT GIVES US SOME SHAPE FOR THAT.

AND THE OBSTRUCTION ITSELF WOULD THROW A SHADOW ON THE BOTTOM OF THE STREAM BED, AND I THINK THAT THIS IS TURNING OUT.

IN FACT, I WILL START WIGGLING THESE STONES HERE BECAUSE THIS IS RIPPLES AGAIN DOWN HERE, AND I DON'T WANT IT TO LOOK LIKE THEY ARE TOO CLEAR.

I WILL GET THE TIP OF THAT OBSTRUCTION.

OKAY.

I WANT TO COME BACK INSIDE HERE AND COME INTO THIS LAST PART OF THE PICTURE, WHICH WOULD BE THIS SIDE OF THE INSIDE BANK OF THIS TURN.

ACTUALLY I AM GOING TO SUGGEST SOME -- A GRASSY BANK ON THIS SIDE.

IT GIVES IT SOME GRASS AND SEED THERE, BUT WE WANT THIS TO BE BOULDERS, YOU KNOW, SOME BIG -- BIG BOULDERS, BIG MOSS OR GRASS COVERED, EARTH COVERED SHAPES, JUST TO GIVE SOME FORM TO THIS SIDE OF THE PICTURE TO KIND OF GIVE US THAT FULL, WRAP-AROUND FEELING OF THE STREAM, JUST AS IF YOU WERE STANDING UP HERE ON THIS BANK.

SEEING THIS PICTURE UNFOLD.

WHAT THE HECK, WE MIGHT AS WELL PUT AN OLD STUMP OVER HERE.

THIS MIGHT HAVE BEEN THE THING THAT BROKE AND FELL IN THE WATER IN THE FIRST PLACE.

LET'S JUST SAY.

LET'S JUST SAY FOR THE HECK OF IT THIS MIGHT BE WHY THAT OCCURRED, THAT ORIGINAL BREAK OCCURRED.

SOME STONES AROUND IT.

THESE DON'T HAVE TO BE ROUND.

THESE ARE UP ON THE LAND.

THAT WILL GIVE US SOMETHING TO WORK ON.

NOW, THIS IS -- THIS IS WHERE THE EDGE OF THE LAND IS.

THIS IS PART OF THE -- THIS WILL BE PART OF THE BANK STILL UNDER HERE WHERE IT IS CUTTING OUT AS IT IS TURNING AROUND, AND NOW WE ARE SEEING THE BACK SIDE OF THIS CUTOUT EFFECT SO THOUSAND WE HAVE TH OPPORTUNITY.

WE HAVE THIS BEAUTIFUL, OPEN AREA TO JUST SHADE IN AND SUGGEST NICE, DARK, STILL WATER WITH REFLECTIONS, SO LET ME DO THAT.

SEE, I WILL COMPLETE THESE REFLECTIONS RIGHT HERE.

I WAS ERRANT ON ONE REFLECTION.

I DON'T KNOW IF YOU NOTICE THIS, BUT SEE THIS TREE UP HERE?

WHAT THE HECK DO YOU CALL THIS?

LOOK AT THIS.

THIS IS REFLECTED, KIND OF AN ARTIST -- BETTER PUT THAT BACK DOWN.

HERE'S A GOOD EXAMPLE OF A STILL WATER BEING DISTURBED.

I AM GOING TO DRAW THIS REFLECTION OF THIS TREE.

THIS ANG EATS -- THIS ANGLES TH.

I WILL DO THIS MUCH OF THE TREE, NICELY REFLECTED WITH NO BREAK IN THE REFLECTION, BUT WHERE THERE TROUT RING -- SEE WHERE THE TROUT RING DISTURBS IT?

IT BREAKS THE REFLECTION UP AND GIVES THE SENSE THAT THE WATER IS MOVING IN THAT RING, AND IT BREAKS UP THE REFLECTION OF THIS ONE TREE.

IN FACT, I CAN CONTINUE THAT RIGHT OVER HERE.

RIGHT IN THE MIDDLE WHERE THE WATER IS MOVING, AND SUDDENLY WHERE IT GETS STILL AGAIN I CAN MAKE THAT REFLECTION SOLID AGAIN.

JUST SHADING THE SURFACE OF THE STREAM NOW.

LOOK AT HOW YOU USE THE SHADING OF THE DARK SURFACES ON THE SURFACE OF THE WATER, YOU USE THE DARK AREAS, AND IN A DRAWING, YOU CAN USE THEM TO YOUR BENEFIT BY BRINGING THEM UP TO WHAT YOU WANT TO LOOK NICE AND WHITE.

LOOK HERE, SEE THAT BELLY OF THAT FISH?

I WANT THAT BELLY TO STICK OUT A BIT.

I WILL BRING THAT RIGHT UP TO THE BELLY OF THE FISH.

IN FACT, I COULD MAKE THIS UNDER HIS CHIN, STAND THAT OUT -- SEE THAT?

THE MORE YOU DO THAT, THE MORE EACH THING IN THE PICTURE STARTS TO BECOME INTEGRATED WITH OTHER THINGS IN THE PICTURE, AND THEN YOU HAVE A MORE SOLID, NATURAL SCENE.

YOU CAN DO THIS HERE FOR THIS BLADE OF GRASS TO BRING ONE BLADE OF GRASS OUT A LITTLE BIT.

JUST SHADE RIGHT AROUND IT.

BRING THE SURFACE OF THE WATER AROUND THIS GRASS.

THIS IS WHERE IT STARTS TO PICK UP AGAIN.

YOU CAN CORRECT ANY -- SEE, SOME OF MY LINES WERE GOING THIS WAY AND THAT WAY.

YOU CAN CORRECT THEM WITH OVERALL LINES IN THE DIRECTION OF THE FLOW ONCE YOU FINALLY ESTABLISH YOUR SHADING AREAS.

LIKE THAT.

YOU CAN SEE THE SHADE BEHIND THE GRASS AND PICK THAT RIGHT UP.

PICK UP THE PART THAT GOES ON TOP OF THE GRASS RIGHT OUT.

LIKE THAT.

DOWN HERE, TOO.

I CAN DO MORE OF THIS TAIL.

I WILL USE SOME MODELING ON THIS FALLEN, SUNKEN BRANCH, TOO, BOTTOM SIDE OF IT.

WHEN WE GET THAT IN, DARK SHADING ON THIS PART OF THE FLOW.

AND I WOULD SAY WE HAVE GOT OUR PICTURE.

THAT'S A PICTURE IF YOU ASK ME.% ANY TIME YOU BRING THE SURFACE SHADING OF THE WATER OVER AN OBSTRUCTION OR A STONE OR A BOULDER OR PART OF A BODY LIKE ON THE FISH, YOU ARE PUTTING THOSE THINGS UNDER THE WATER.

AND WHEN YOU DON'T -- IF YOU BRING YOUR SHADING UP TO, IF YOU BRING YOUR SHADING UP TO SOMETHING AND STOP AT THAT SOMETHING, LIKE HERE, SEE THE TOP OF THAT BOULDER IS CLEARLY ABOVE THE SURFACE OF THE WATER.

YOU CAN PROBABLY TOUCH UP A PICTURE FOREVER.

I THINK I AM JUST GOING TO FIGURE IT'S DONE.

WELL, THERE WE HAVE IT.

WE COVERED ALL OF THE THINGS AND FEATURES AND ASPECTS OF WATER THAT WE SAW TODAY.

THAT WE WALKED THROUGH.

AND IT HAPPENED RIGHT HERE ON OUR PAPER THE WAY THAT I DESCRIBED IT TO YOU AND SHOWED IT TO YOU.

AND DREW IT FOR YOU.

I HOPE NEXT TIME YOU DRAW WATER IT WILL COME A LITTLE EASIER FOR YOU BECAUSE YOU WILL HAVE CERTAIN THINGS TO THINK ABOUT, CERTAIN GUIDE POSTS TO JUDGE YOUR OBSERVATIONS ON.

NEXT WEEK WE WILL BE DRAWING LAND, AND I THINK THAT IF YOU PUT UP WITH ME THIS WEEK AND GO THROUGH ALL THAT WATER, AND ENJOYED IT, EVEN AT THAT, NEXT WEEK YOU WILL ENJOY IT EVEN MORE BECAUSE WE WILL BE HIGH AND DRY AND WE WILL BE DOING A LAND LANDSCAPE.

I THINK I HAVE MY PICTURE HERE.

I AM GOING TO SIGN IT AND FIGURE I AM DONE.

THAT'S ONE OF THE NICE PARTS OF DOING A PICTURES, WHEN YOU ARE FINISHED AND YOU KNOW IT'S YOURS AND IT CAME OUT OF YOUR HEAD AND FROM THE THINGS THAT YOU HAVE SEEN, THEN YOU DESERVE TO PUT YOUR NAME ON IT.

THERE.

♪ ♪?

DRAWING FROM NATURE IS MADE POSSIBLE IN PART BY A GRANT.

JIM ARNOSKY IS THE AUTHOR OF DRAWING FROM NATURE.

AVAILABLE IN BOOKSTORES AND LIBRARIES NATION-WIDE.

>> FOR MORE CLASSIC PROGRAMS, VISIT VERMONTPBS.ORG/FROMTHEARCHIVES.