- Hi, welcome back.

Certainly glad to see you today, and I hope you're having a wonderful day.

So I tell you what.

Let's start out today and have them run all the colors across the screen that you'll need to paint along with me.

While they're doing that, let me tell you what I've already got done up here.

Got my regular old 18 by 24 inch, pre-stretched, double-primed canvas up here, and it's been covered with a thin, even coat of the liquid white, and it's all ready to go, so let's go.

I thought today maybe we'll do a... Maybe we'll just do a happy little winter scene, something that's very soft and gentle and quiet, and let's just have some fun, what the heck.

Let's start out, ooh, a little bit of Cad Yellow.

A little Cadmium Yellow, but very, very small amount, a very small amount on the brush.

Let's go up here.

Now then, decide, right off, where you want the light area to be in this painting.

I think maybe right in here.

Anywhere is ok except right, dead in the center.

We don't want it right in the center.

There, something like... like so, that's good.

Now then, without cleaning the brush, we'll take a little bit of Yellow Ochre.

It's a very nice gold color, so you'll like that.

We'll go right around the edges here, little Yellow Ochre.

We'll just let it blend out.

There.

Little touch over here.

Wherever.

Wherever, we'll just sort of let it dance around and play.

Shoot, tell you what, tell you what, maybe we'll add a little Bright Red to that.

Just a little bit on the old brush here.

We'll go right along in here and put a little red in.

Sometimes, as I've mentioned before in other paintings, winter scenes get so cold, they're almost uncomfortable.

A lot of times we use a lot of blues in the winter scenes, and they get very, very cold.

This will keep your winter scenes nice and warm and inviting.

The fact that you have some of these warm colors in here.

All right.

Little bit in here and there.

There.

Wherever you want.

Now then.

Tel you what, we'll just use that same old dirty brush.

Maybe we got some...

Here's some Phthalo Blue, we'll use that, and I'll reach right over here and get a little of this Midnight Black.

So we have black and blue, or blue and black, either way.

Just sort of mix them together on the brush.

Very dark color, though.

And I want to darken these edges.

If we're going to have a little light spot in here, by making these edges darker, it'll make that light spot look lighter, if any of that makes any sense.

You need this dark area to make the lights look really light.

There.

Ok. Little bit on the other side.

Just black and blue once again.

We'll put that right in here.

Maybe just let it sort of gently float right across the top.

Ok, we'll wipe a little of this down here.

Maybe we'll have some snow and this'll end up being some shadows in the snow.

This is a good way to clean the paint off your brushes.

All right.

Now we just wash the brush, and, as you know, we wash our brushes with odorless thinner.

Shake off the excess.

(chuckles) Cover everybody you know and off you go.

Seriously, if you do this at home, I wouldn't recommend that you beat the brush like this.

If you do, you're going to... You're going to lose your popularity in about one heartbeat.

They make a thing called a brush beater rack, It goes down inside of a waste paper basket and you can shake the brush inside the basket, beat it on the rack, and everything's contained.

It works very, very well.

Ok. Take a little Titanium White.

I'm going to go right up in here.

If this is going to be our brightest area, and we'll just have a nice, bright spot right there.

Just like so.

See how bright that makes that?

And then we'll start blending outward.

I want to blend all this together.

Always blending outward, don't want to take this dark, dirty color and bring it back into the center.

If you do, you're going to have a beautiful green sky.

And it might be all right some time, but today we're not looking for a green sky.

There.

'K, just blending outward, blending outward.

This red color in here acts like sort of a barrier.

There we go.

It keeps the yellow and the blue apart.

And maybe, I'll tell you what, I'm going to add the least little touch of Alizarin Crimson in there.

There.

Oh, I like that, that creates a little lavender area right in there.

A little bit more of that.

There we go.

Makes a very, very nice little sky.

Mm-k, a little bit over in here.

Let me beat the brush a little.

By beating it, it takes off the excess paint.

Then you don't have to clean the brush.

Unless you just like to clean the brush.

Ok, now very lightly, very lightly, we'll just blend this out.

And isn't that a fantastic way of making a very effective little sky?

And it's very easy.

Ok. And we can wash this old brush again.

Probably as a day would have... Maybe we'll put some little trees back here.

(chuckles) There we are.

Let's use, let's use the old round brush today.

We'll put some little distant trees.

Now, we'll take this round brush...

This is a new round brush that we've just come out with, it has golden hair in it, just like the two-inch brush.

It's much softer, works much better.

I think you'll like it.

Go tap a little bit of that black in there, but very, very little color.

Tap it firmly.

Just tap it.

Let's go right up in here.

Now maybe back in here there's some little trees that live back in here.

I usually start at the base and work upward.

That way the bottom of the tree is always much, much darker than the top of the tree, so your shadow areas are toward the bottom.

And think about some basic little shapes that you want in here.

There we go.

And that's all we're really looking for, is very basic shapes.

We're not looking for a lot of detail at this point.

Later on, we'll be concerned about that, but, when things are far away, you don't see a lot of detail in them, you see shape, and form, a little color, and that's about all.

Ok, maybe right in here there's another happy little bush that lives wherever you want him.

A little more.

Now up in here, 'cause this is the light source, I want this to be extremely light, so very, very little color.

Tap very lightly.

There.

'Cause the sun'll be shining through there, and these would...

Sometimes they almost become transparent when they're right in front of the light source like that.

There we go.

A little more color.

As you work away from that light area, let them get a little darker, a little bit darker.

There.

Maybe... Yeah, there's one.

There he is, you knew he was there.

Just drop him in.

Ok, we'll give him a little friend over here.

Maybe we'll just go all the way across here putting trees, what the heck.

Sometimes, sometimes this gets working nice and it's fun and you just want to keep going, so why not?

Why not, enjoy it.

Enjoy it.

Painting should make you happy, and you've heard me say over and over again, "If painting doesn't make you happy, "then you're doing the wrong thing."

It's like the work that you do, you do your best work if you do a job that makes you happy, and I'm very fortunate.

I get to do a job that makes me very happy when I'm doing this, and it's too bad that everybody does not have a job that that they'd rather do than anything else in the world.

And then you do your best at it.

There we are.

'K.

And that quick, we go little bushes and trees all the way across there.

And put individual little small ones in front, but make them a little bit darker, just like that.

But I'm using, basically, just a little tiny bit of the Midnight Black, that's all we're using.

Mm-k, maybe some in the foreground right here, just a couple of little tiny ones.

And we're not worried about the bottom, anything down here we don't like, we're going to have some snow, maybe, so we'll just drag that right off into the snow.

Now then, going to find my liner brush.

To that, we're going to add some paint thinner, and we'll go right into that same color, right into it, but the paint is very, very thin.

Ink consistency, ok?

Let's go up in here.

Now, with this very thin paint, we can go in here and drop in the indication here and there of a few little sticks and twigs and all the little things that live out here in these trees.

There they are.

Just a few little indications.

There.

Wherever you think they should live, that's exactly where they should be.

There we go.

Hmm.

Like to do these little rascals.

Maybe back in here you can see some little things that are living back between these two trees.

All kinds of little sticks.

And that quick, you can drop them in, and that creates the illusion of depth in your painting.

Fact that you can see all these things.

So use them to your benefit.

They'll make your painting special, very special.

It's hard to believe this is the 19th series that we've done, and each series contains 13 shows.

Gosh, there must be nearly 250 shows now.

And if you haven't got to see them all, if you want to, call you local station.

These shows are provided for them free, so let them know that you'd like to see them, shoot.

There we are.

Ok. Now then, time to have some fun.

Now then, let's decide, if this is going to be a little winter scene, maybe there's going to be some snow in our scene.

Let's decide where it's going to be and drop it in.

Easy to do when you're using the great big old brush.

We'll take the two-inch brush, and we'll go right across... We'll load both sides with Titanium White, and I'm putting quite a bit of paint into the bristles.

For this first stroke I want to...

I want to pull these bristles together pretty good.

So they're pretty tight, and it takes quite a bit of paint.

Look at it.

See?

It's almost to a chisel edge.

But there's quite a bit of paint in those bristles.

Let's go right up here.

Now then, we have to start making some decisions.

If our snow lives back here, let's start right here.

Touch, push, and just bend the brush and pull.

Snow is one of the easiest things to make.

And we'll just let it disappear off onto the side there.

See how simple that is?

Don't let snow bother you, it's one of the nicest, once again, most easy things to paint in this technique.

And by putting this little bit of color on the canvas, automatically you have shadows.

Automatically.

You just don't cover everything up, allow some of those shadows to show through, and it makes your painting much more interesting.

Show you another little trick, something that's fun here.

Maybe want to have some banks, maybe there's even some water there.

I don't know, we'll see.

Let's take some black, little Titanium White, I just want to make a gray color here.

Maybe a little darker than that.

Oh, that's nice, right there.

Now I'm just going to take a little bit of that on the small knife, not much.

Figure out back here...

This is an easy way of making banks.

I you want to, a little bank lives right here, for example.

All you got to do is just sort of lay in a little color.

Now I'm just scraping off all the excess paint.

Now the color, or the value, it remains in the fabric.

In fact, you couldn't get it out now if you wanted to.

You could paint over it, but you can't take it out.

But see, that's all you have to do.

Don't worry about it.

I know that doesn't look so great right now, but I'll show you how to make it look much nicer.

Very easy.

There.

Now, normally, if you had a little bank here, we'd have some reflections underneath it.

We're going to have a little water, so we'll just put a little of that in, too, while we're doing it.

Take a clean brush, grab it, very strong.

Really get in there and grab it, pull it down.

I don't want a great deal.

But I want it to be directly underneath that dark color.

There we are.

Pull straight down.

Because the canvas is wet, it has liquid white on it, you can move this color, and pull it all the way down to the bottom if you want to, and then, very lightly, go across, just like so.

Now watch what happens here.

Let me find my brush, there it is, that we have the Titanium White on.

Now, take the Titanium White on the two-inch brush and come right up here and watch now.

We're going to pull this right across, right over, and just, whew, let it come over.

See?

It makes it look like there's snow hanging right over the edge, and you haven't hardly done a thing.

Isn't that sneaky?

There we are.

Ok.

But it's that easy.

You should never again have a problem putting snow over the banks.

That's one of the nicest, easiest ways I've come up with of doing this.

There we go.

But you have to think of the lay of the land and keep your strokes going in that general direction.

And work in layers.

Do the thing that's farthest away first and work forward, forward, forward, always coming forward.

Maybe we'll some more of those little banks.

Shoot, those are fun.

Same gray color.

Think bout where you'd like to have a little bank, right in there, see?

A river bank, that's a place where the fish put their money.

Ooh, bad joke.

There.

Ok. Then we'll take our two-inch brush, once again, grab that color, and pull it straight down.

Straight down.

Come across.

Back with our brush that has the Titanium White on it, decide where you want it to be, and choo, just drop it right over the top.

Right over the top.

'Bout that easy.

Hmm.

That's fun.

Ok, once again, same thing, take the knife, maybe... maybe there's a bank way out here, I don't know.

But angles are most important.

Just get your angles right, the rest of it will work easy.

Once again, little reflection underneath.

Grab it, pull down, come across.

Shoot, you're in business again, that easy.

Now back to our two-inch brush that has the Titanium White on it.

Load a little color, let's come right in here.

Choom, and just let it drop over.

There.

Mm-k.

Isn't that a super-easy way of putting all kinds of little things in there?

Here and there I'm going to add the least little touch of Phthalo Blue, just to create the illusion of some shadows in there.

Now, very gently, you can smooth all that out so it's as smooth as velvet.

Very, very smooth.

You could even take the tiniest little amount of that Phthalo Blue and, here and there, put very, very small amount.

Here and there, just pull the indication of a little bit down into your reflections.

Don't over do.

It's easy to over do.

Look-it there.

Now, maybe... Let me find a fan brush, what the heck here.

There's one.

Let's take a little Van Dyke Brown, a little Dark Sienna, we'll just mix them together on the old fan brush.

Load quite a lot of paint on the bristles, just pull it through both colors.

Maybe there's a happy little tree that lives right here and hangs over and watches what happens, and he lives right there.

See, just pull, mmmmm.

Right there, that's where we want him.

Maybe he's got a little arm here, just hangs out, (whistles) comes right on down like so.

Trees are so neat.

There we are.

And you can make him a little fatter or skinnier, however you want him.

Look around, make a decision how you want your tree.

Let's give him a friend.

Shoot, you know me, I think everybody needs a friend, and even this little tree.

He has one that lives right here beside him.

Doop.

That easy.

'K, there.

Now we'll take our knife, a little touch of Titanium White, a little Dark Sienna, we'll just sort of mix them together 'til they're marbled like that.

Cut off our little roll of paint, go right up in here.

If our light's coming from here, and there it is, right up there, then we want to put some highlight right along the edge of that.

Just a little highlight color, let the sun just shine through.

Zing.

There.

'K, and all you have to do is just, literally, just touch the canvas.

It'll pull off what it wants, give you back what's left.

There we go.

Little bit of the dark color, excuse my arm just a second.

Lay a little of that dark color on the other side.

There.

Now, I'm making this tree quite thick, so when it dries, it'll literally have texture to it, just like a real tree.

You can feel the bark on it.

There we are, a little highlight on this little rascal.

Don't want to leave him out.

He'd be all upset if you leave him out.

He want to shine in the sun, too.

There.

A little dark color.

Just tap that in like so.

Now, let me get the little liner brush, grip liner brush, and we'll go right into some of those brown colors.

It's just a mixture of the Dark Sienna and Van Dyke Brown.

Thin the paint with paint thinner, then we can go up in here and let's begin putting this in.

Just some little tree limbs here and there, wherever you think they should live.

There.

Ok, maybe we'll put a little... some little snow-covered things up in here, make it look like the snow's hanging from all these little branches and twigs, so we don't have to draw each one of them at this point, then.

Sometimes, when you're doing these, though, maybe you want to have a dead tree.

There's a lot of dead trees in nature, too, that's as normal as live trees.

Though some people do not like to have them in their painting.

I like to have dead trees in my painting, but I have received letters from people who get angry because I put dead trees in the painting.

But I think that's part of nature.

But if you don't want them in your painting, then just leave them out, it's all right.

Painting's very individualized.

There, I'll put a little limb right there, even, what the heck.

This little tree here, there he is.

Give him an arm or two.

There.

Maybe this one comes right over in front of the trunk.

There.

But let your hand just wiggle it and jiggle and... You don't all them just perfectly straight.

Tree limbs grow every which way.

Whatever makes them feel good.

There we are.

All right.

Maybe there's a little dead one on this one, too.

Few little ones here and there.

Now I'm going to take just a little touch of the liquid white right on the brush, and just put a little color right down here at the bottom to bring all that together.

There, just look like a little snow climbing right up his foots.

'K, just a little liquid white.

That's the easiest way to do it.

Now then, damn.

Let's find the Filbert brush, maybe there's some stones out here in this water.

Let's take, let's take... We'll use that same gray color we used, and just black and a little white.

Ok, let me mix up something else here.

I'm going to take some liquid white, put right there, just plain liquid white with the least little touch of gray in it.

Least, least little touch of gray.

'K, we're going through our gray color.

Now, just keep the camera there and I'll bring this right up.

All right, there.

So, see, it has white on one side, dark on the other.

Now, maybe there's some little stones back in here.

All you have to do is just begin figuring out where they live and drop them in, however many you want.

Maybe they live right here on the edge of this, right along the bank.

See, we can just put the indication of a little reflection underneath those, like so.

There's some more.

See, wherever you want them, wherever.

Little more of the liquid white on there.

Pull them down.

And we'll take our little knife here, and we can just come back and put a little, like a little water line right around these stones.

Maybe this is frozen.

Looks frozen to me now.

There.

But isn't that a super easy way of putting in a lit of little things like that?

You can put in just hundreds of little stones, if you wanted to.

Let's get crazy, you know me.

(snickers) I love them old big trees.

Maybe, in our world, there lives, pyoom, right down through there, huge, big tree.

Maybe he's got a little arm out here like that.

I'm going to give him another arm.

Get crazy sometime when you're making trees, they're a lot of fun.

Maybe he's got an arm that goes right on off the canvas over here.

Boy, my little squirrel would love this tree.

This is squirrel heaven right here.

Take our brown and white, put a little highlight on this tree.

There we go.

See, just let that sort of work right around.

All we're dong is just touching the canvas.

Allow the canvas to pull off what it wants.

There, see, light's coming through here.

Maybe this one would be highlighted o this side.

Just sort of look and see where you think the light would be.

Load it right in here 'cause the light's coming from that direction.

Here and there, a little touch of that dark, dark, dark color.

This is just straight Van Dyke Brown, a little Dark Sienna.

But still just touching the canvas.

'K, down here at his little foots, we take a little bit of white, bring all that together.

There.

You could even pull a little bit of it out and create the illusion of a shadow here.

'Cause there would be a nice shadow behind these trees.

You can do that that easy, let it come right over.

There, now we have some little shadows in there.

And maybe, in our world, maybe there's a few little, just a few little limbs on this big, big old thing here.

Not too many, 'cause it's too tall.

Most of them are up on the top up here.

There we are.

There we go.

There, maybe one right here, that's really about all we need.

'K, let's take a little bit of our gray color.

Let's just tap in the indication here and there of a few little frosty leaves.

Time's about up for today, but I can show you basically how to just put in a few little things like that, very light.

There.

Just to give the indication there's a few thing's hanging from there.

Take a little white, and we'll just tap in just a few little highlights, little snow-covered things.

Isn't that fantastic?

There, a few little things in here.

Mmm, this old round brush will do just wonderful things.

A few out here, don't want too many.

Looks like frost hanging all out on these.

I think we about have a finished painting, shoot.

That's a super nice little winter scene.

hope you try it, 'cause you'll enjoy it.

And from all of us here, I'd like to wish you happy painting, and God bless.

(jaunty music)