[Music] Hi, welcome back.

Certainly glad you could join us today.

I thought today we'd just do a fantastic little painting that I believe you'll really enjoy.

So let's start out and have them run all the colors across the screen that you need to paint along with us.

While they're doing that, let me show you what I got up here.

Have my standard old double prime pre-stretched canvas, and today I've taken a little piece of contact paper and just cut an oval out of it.

And then we've covered the whole inside of the oval with a thin, even coat of liquid white.

So the canvas is all wet and it's ready to go so, tell you what, let's, let's just have some fun today.

Today I think I'll start, oh, let's use a little a little one inch brush.

I'm going to take just the smallest amount of cad yellow, very, very small amount of cadmium yellow.

We don't need much today.

I think today we'll do the little seascape that you see at the beginning of the show.

And I'll show you how that was made.

And this will not be an exact duplicate of that, but it'll, it'll be very close.

Okay, and we'll just take a little one inch brush and just make sort of a little yellow circle right there.

Right there.

Without cleaning the brush, I'll pick up a least little touch of the yellow ochre.

And we're, we're really applying very little color here.

There.

There's not a great deal of color on the canvas.

Something, oh, about like that.

That's fine.

It doesn't matter, doesn't matter.

There we go.

Now then, let me wash the old brush.

Okay, and we just wash our brush with odorless paint thinner.

Since these are oil paints, that's what we use.

There we go.

Now then, let's take, mix up a little color here.

I'm going to take some white and a little phthalo green mixed together.

Now phthalo green is sort of a, well it's sort of an an emerald green.

It's a gorgeous color.

Very strong, though.

Okay, I'm going to wipe off the old knife.

Be very careful with it, you need that much.

And we'll put a little of that right on the old one inch brush.

And I'm going to go right out here, right around that, and just drop in a little bit of that, like so.

I've got a lot of letters from people that are asking for just a very simple little seascape that's quite effective, and this is the one that I've designed.

I think you'll enjoy it.

Think you'll enjoy it.

Now then, same color except I'm going to add a little bit of the midnight black.

So I have phthalo green, a little white, and midnight black.

Just want to dull it down a little bit.

Okay.

And we'll go right around here with that.

What we're trying to achieve here is the illusion that it gets progressively darker as it goes out away from the sun.

There.

Now then, same color, same color.

So we have phthalo green, white, black, and I'm going to add a little bit of phthalo blue just to change the flavor and make it a little darker.

A little darker.

Okay, and we'll just fill up the rest of the sky with that.

That easy.

And we have a basic idea, maybe our waterline will be right along here somewhere.

At this point, we're not really concerned.

We'll worry about that later.

Right now, we're just applying some color to the canvas.

There.

See, we already have a masterpiece for the Museum of Modern Art right there.

We could stop.

[laughs] Alright, I just like to wash the brush.

Okay.

Now then, let's, let's begin blending, but today I'm going to blend a little bit different.

Normally I just do a little crisscross.

Today I'm going to touch and push.

Just touch it and push.

I want to make this look like there's little rays of light coming out from here without actually having rays of light.

I just want to give that impression, so just by doing this.

This is the way that we'll blend it.

There.

And I'm going to turn the brush over occasionally so that I get a little bit of that color in here.

Alright.

And, the least little bit of titanium white right on that same brush and begin tapping.

There.

Just like so, that's all there is to it.

And you can do this over and over and over, and you will not believe the effect that you can create.

There we go.

But all we're doing here is just tapping, pushing.

And I'm doing it quite firmly as you probably can hear.

But you begin seeing that illusion that it's coming out from here.

Always start in the light area and work outward.

We don't want to take that dark, dirty color back into the center.

We don't want to lose that nice bright area.

There.

Okay, you beginning to see that?

How it just, looks like there's a glow going all the way around.

And as I say, I have some time restrictions here that you don't have at home, and you can do this for a long time and you get it to any degree of softness that you want it.

There we go.

But it's, it will make one of the most gorgeous skies you've ever seen.

And you don't have to limit it to seascapes.

It's also very, very effective and very pretty for landscapes.

Let me just beat the old brush.

That just takes off the excess paint.

There we go.

Something about like that.

Just keep it going.

There.

Okay.

Let me wash the brush and we'll start all over again with a little bit of white into it, just one more time real quickly so you can see the effect that happens here.

[laughs] That's the brush that's really fun to do.

Go back into a little more of the titanium white.

And I washed the brush because I'm going to start right back here in the lightest area and work outward.

There.

Still doing that tapping and pushing at the same time.

And outward, outward, outward, outward, always blending outward.

But isn't that fantastic?

And you can do this.

It's very, very simple.

Very simple.

Alright.

And right on up here a little bit.

In this particular painting I know basically what's going to happen since we did it for the opening of the show, so I know there's going to be some clouds and stuff in there.

We don't have to worry so much about up in there.

There we go.

Alright, one more time we'll wash the old brush.

Actually, I just like to keep the camera crew on their toes.

[chuckles] There.

Now then, very lightly, very lightly just blend the entire sky.

And that effect will still remain in there.

You can still see that.

It looks like light's just exploding.

There.

Something about like that.

And you can blend it to any degree of softness that you want, it's up to you.

A little hair right there.

Just take the corner of the brush, lift it off.

That's all there is to it.

If you get a hair, because these are natural bristle brushes, they do have a tendency to shed a little bit, especially during mating season.

But if you happen to get a little hair, just take the corner of your brush and pop it off.

Alright.

Now, we'll use the same old brush.

I'm going to go right back into the color that we had there.

It's phthalo green, a little black, a little blue, white.

Tap a little color right onto the bristles like that.

Something like so.

And we'll go right up in here and maybe, maybe there's a happy little cloud lives right there.

And all you do is just tap.

Just sort of tapping and giving it a little pushy push.

There.

Something about like that.

I had a little cloud.

There we go.

Maybe, I think it was one about here too.

As I say, this won't be an exact duplicate of the one you see at the opening, but it'll give you an idea of how it was made.

And then you, you make your own masterpiece.

About like so.

A little darker color, and maybe up here at the top you can make out the indication of a few little clouds that live way up here.

There.

Wherever.

Now we can wash our brush.

And one more time.

Nothing else is as good exercise in keeping your brush clean.

There.

Now very lightly, one hair and some air.

You just blend this.

Just blend it and go right across the entire sky very gently and blend it all together.

There.

I beat the brush, once again, only to remove excess paint.

It's just, it's much faster and easier than going through the whole cleaning procedure.

And it'll clean it pretty well.

Now, maybe in our world we'll put a little sun up here.

We'll take a little white paint, a little titanium white.

And I don't want this to be real bright, just enough so that you can see it.

And then very gently you can blend right over the top of that.

And see, now we have a sun, the indication of some rays coming out, and some happy little clouds.

That easy, that easy.

Now, major decision.

Where's our water line?

Let's take, we'll use black, phthalo green, a little phthalo blue, a little white.

I don't want this water too dark today.

Something about like that.

Not too dark.

And big decision time.

Maybe our waterline is right along here, right along here.

If you have trouble making a waterline that's halfway straight, which I do frequently.

Mine have a tendency to sort of run to one side or the other.

You could put a piece of masking tape across there before you start painting, and it'll assure that your waterline, then, is exactly where you want it.

You just pull the masking tape off once you have the sky finished.

There.

You know it's fantastic.

We get hundreds and hundreds of letters from people all over the country that are painting, and people send me photographs.

But recently, right here at the station where it's filmed, they had a little contest.

I want to show you, I want to show you a picture that young man did, a couple of them in fact, named Chris, that lives right here in Muncie, Indiana.

Can you believe this?

He brought these in, and let me look at them, because he won the contest and you can certainly see why.

Chris, you're doing fantastic.

But these are the kind of things that I love to see, because they make it all worthwhile.

This young man's probably, oh I don't know, 15 years old or so, and I'm guessing, but he has one heck of a painting future ahead of him.

So congratulations, Chris.

There, all I did is just fill that up with a little color.

About like that.

And we can wash the old brush again.

There.

Shake off the excess.

[laughs] And just beat the devil out of it.

Alright.

Let me find a little fan brush.

There was some little headlands back in the background, so I use a little black.

A little black, a little bit of the blue, a little phthalo green.

Same exact colors.

We just changed the proportions a little bit, so it has a little different flavor.

Maybe in our world there lives, maybe there's a little, yep, little headland lives right there.

Barely touching the canvas.

The more color that you want, the harder you push.

It'll get darker and darker that way.

Maybe, yeah, a boat, little bump right there.

It's your world, so you really decide how you want these to look.

It's up to you.

It's really and truly up to you.

Painting is such an individual thing, and that's the way it should be.

That's the way it should be.

Everybody sees nature through different eyes, and the way you see it is the way it should be painted.

Now just take the big brush and sort of pull that out a little bit, like so.

And I have several little fan brushes going.

I get another one here.

I'm going to take a little white, a little touch maybe of the phthalo green, but mostly white.

Here's our light source.

All you have to do is just sort of tap.

Just tap.

This is a very simple way of putting some little highlights back here on these little headlands.

There, like that.

There we go.

You know, I get a lot of, a lot of letters, also people asking if there's any possibility of seeing these paintings that are done on television.

And recently the Minnetrista Cultural Center here in Muncie has started a tour that's going to go all over the country and they have, well in fact they'll, they'll have, they'll have the entire television set.

They're going to have my easel, everything, it'll travel all over the country.

And I think there's about 30 paintings there that come out of the hardcover book, the original paintings.

So if you've ever wanted to see any of these actual paintings sort of check around and see if it's going to be in your town beause I think you'll enjoy it.

They've put a tremendous amount of work into this exhibit, and it's for a good cause.

I think you'll really love it.

There.

But you can actually see the easel that we use here, and I've even going to donate my dirty old shoes that [chuckles] over the years I've beaten the brush above them.

The paint sort of falls on them and the tops are green.

You don't ever get to see that.

So, if it comes to your town, come out and see us.

We'll have people there that are talking and showing ya how to do it.

It's just going to be a good time.

Alright.

Let's start putting in some little waves and stuff back in here.

And today I'm just going to do waves in a extremely simple way.

I'm going to use a small knife, pull the paint out flat, got a little phthalo green and white here, very little phthalo green, a little roll of paint.

And now very firmly, and we want to literally bend the blade, decide in here where all the little things live.

And you can just begin, very firmly, pushing in the indication of little waves that are far, far away, real far away, see there?

But it's that easy.

There.

And this is probably the simplest type of seascape to make.

Even if you've never painted a seascape before, this one you can do.

This one you can do.

Because sometimes seascapes give people a little difficulty.

This one's easy.

This one is easy.

There we go.

A few little things here and there.

But, see, you just allow the paint to work and create the illusions.

Maybe, maybe there's another one.

I remember right in here somewhere.

There.

But firm.

Really, this is where you take out all your frustrations with the canvas.

You get in there and really.

As Steve, my son, he says "moosh it in there."

I don't know if that's really a word or not, but you certainly understand what he's saying.

Just moosh it in there.

And I think there was one more, maybe, right in here.

We had a little boat in there, I'm going to try to put a little boat in here too.

I like those little devils.

Something about like so.

There.

And you can go back and add a little ripple here and there, whatever you want.

Whatever, and wherever.

Alright.

Now then, I want to create the illusion up here of maybe the sand's a little wet.

So we can take a little white paint and just pull it downward like that.

Just pull it downward.

Grab it, and with a large brush, pull it and go across.

That easy, it'll make it look like that's wet.

Now then, to do our little boat.

Easiest way that I've found, take the knife and begin scraping out just a little basic idea.

That'll help you lay out your perspective and everything.

Just lay it out, [Bob makes "tshoom" sound] here it comes right up in here.

We have a front, we have the other side, down, we have a back, and it'll come back in here.

Something about like that.

Then you can scrape out all this excess.

There we go.

Tell you what, let's use, let's use a little filbert brush.

I'm going to make a little brown out of some sap green, some sap green, alizarin crimson, in about equal parts.

I'm going to make us a little brown here.

There.

Maybe a little more green.

You can take this to the green hue, green side, or the reddish side, it's up to you.

I usually like it a little to the reddish side, but it's, it's an individual thing.

Okay, let me wipe off the old knife.

Now then, take our little filbert brush and we can just begin filling this in.

Just begin filling it in, something like so.

There.

And here it comes this way.

[Bob makes "ssshoo-it" sound] And this is just a very simple little boat.

Maybe, maybe the guy parked it here when he ran up on the beach somewhere, who knows.

There.

Now I'm going to take a little black and begin filling in some of the darker areas.

There, back in there.

Like that.

Okay, maybe a little black and white, make a little grayish color, bring it [Bob makes "tshoo" sound] right along here.

It's just so that stands out a little.

Maybe a little, oh that's even better.

There we go.

And then underneath here a little dark color.

[Bob makes "tchoo" sound] There would be a little shadow under there.

See there, something like so.

Over here on the other side we need some nice little dark colors too.

There, now we get the little liner brush.

Dip it in little of the paint thinner, make me a thin brown color.

And a little front on the boat right here.

[Bob makes "psshoo-it" sound] Like that.

Wash the little brush.

I'm going to highlight that with a little bit of titanium white.

Or you could just use liquid white.

[Bob makes "toom" sound] Something like so.

And back here on the back of the boat.

[Bob makes "tchoom" sound] Maybe there's some, see?

There we go.

Something like so.

And you can put in a few little details here and there.

There, it's parked up there on the beach and just... As I say, maybe he's out paddling around and decided to take a little break, and maybe caught a little fish out there he brought up here to cook.

Who knows?

Just make up little stories, it really helps bring everything together.

A little liquid white, I'm going to add some titanium white to it.

I just want to thin the titanium a little bit.

Our little roll of paint still.

And we'll put the indication here that maybe there's a little water sort of settled around it.

Just a little.

Like so.

Shoot, sometimes it's even nice, maybe, maybe a little brown down here in the sand so you can even see the indication that there's a touch of reflection of the color into the damp sand underneath.

Just a little touch, little touch.

There we go.

Push very firmly, though.

And that'll help give the impression that there's water all around this bottom.

Alright.

There.

Sometimes back here we'll play just a little bit, back in these waves.

If you take just a little dark color and put it right underneath, it'll make it look like they're upstanding, or standing up.

Least little bit of dark color right underneath, and it gives depth underneath.

As I say, I'm going to keep this one simple, I promised.

But, without getting too crazy, it's little things like that will just sort of help give the impression that there's depth under your water.

In some of the other series, we've done some seascapes that are, if you want, if you want some with the big, crashing waves, we've really, we've really done some that have some nice waves in them.

There.

Now maybe, maybe, maybe there's some little sea oats that live right up in here.

So for that, I'm going to take a little sap green, a little bit of that brownish color that we made, like so, and I'm just going to take a one inch brush and just sort of pop in a little indication here and there, of some little weed, maybe some over here if I remember too.

Something like that.

Doesn't much matter, however you want them.

Yeah, we'll push that up like that.

Okay.

Then underneath there, we'll take a little brown, a little white, mix it together.

Need some soil for all this to sit on, just like so.

A little bit of, a little bit of dirt under there.

There.

Something like that.

As I say, if you get a chance to watch this little exhibit when it comes to your town, I really think you'll enjoy it.

I really think you're going to.

So proud of it, so many fantastic people have put so much work into it.

It's, it's really beautiful.

Just taking a little paint thinner, a little bit of the brown to begin lifting up a little of this, so it... we'll make some little sea oat things out there.

Go into a little bit of the greenish color here and there.

There.

And the wind's blowing up here on the beach.

[Bob makes "tchooooo" sound] There, maybe there's some, ooh right over our boat.

That's okay, because that's the way it would be.

There.

Okay.

Maybe a little yellow ochre, a little white, and paint thinner and we'll put in a few right in here.

And some of them have little doers hanging on the end.

You just take the little liner brush and just put them hanging on there.

It's real easy.

No problem at all.

Alright.

Now then.

Let's take a little white.

A little white.

Some of that brown color we've made, a little yellow ochre.

I want to make a nice little color like it.

Don't over mix it.

See how marbledy that is?

That's what we're looking for, because when you cut off that little roll of paint it'll be right there, in the same way, and when we put it on the canvas, it'll still come out with all those variations that you wanted in there.

So that's what we're looking for.

I just want to put the indication of a little light zinging across here.

[Bob makes "tchoo" sound] That easy.

Barely, barely touching.

Just one hair and some air.

Just like you're putting snow on the mountains, that's all we're looking for.

That easy.

Okay.

And shoot, I want to take a little more of the greens and the browns, put the indication that there's a few little weeds up here in the foreground too.

Like that.

Now then, we've got a second left here.

I'm going to take a little bit of...

I'll just use a little midnight black.

On the liner brush, thin the paint until it's almost, almost ink consistency.

And maybe in our world back here, maybe there's some little birds flying.

These are little M birds, you just make a little M. Tiny little things that're far, far off in the distance there.

Now, the moment of truth.

If we bring the camera right up here, let's pull the old contact paper off and take a look see at how well we did today.

[laughs] Isn't that fantastic?

That's one of the most neat little ideas we've ever come, I think we introduced the contact paper idea back in the third series.

Way back there.

And we were cutting out shapes and putting them on and then painting around them.

Since that time, it has almost become a standard.

People are doing it all over the country, all over the country.

I'm going to take a little red, a little paint thinner.

I think this little painting is about ready for a signature.

Make your paint very thin.

Once again, almost like ink or water.

And we'll sign that one right in the middle, what the heck.

Right in the middle.

There.

Sometimes I get letters, people say, "How do you sign a painting?

What, what name do you use?"

It's really an individual thing.

Some people will use their whole name, [chuckles] especially if they've got a short name.

Some people will use initials, and I've even had people that just use symbols.

So it's up to you.

You might just want to design your own little logo that you put on every painting.

But whatever you put on there, it should be special, only for you.

From all of us here, I'd like to wish you happy painting, and God bless my friend.

[announcer] To order a 256 page book of 60 Joy of Painting projects or Bob's detailed 3 hour workshop DVD Call 1-800-Bob-Ross or visit BobRoss.com [music] [music]