most calming bedroom colors

most calming bedroom colors

(bright music) - hello, i'm bob ross andi'd like to welcome you to the 21st joy of painting series. if this is your first time with us, let me extend a personal invitation for you to drag out yourlittle paint brushes and some paints and paintalong with us each show. or just drag up the old easy chair and enjoy a relaxing half hour

as we play some of nature'smasterpieces on canvas. and for those of you'vebeen with us for a while, thank you very, verymuch for inviting us back for another series of painting shows. tell you what, let's get right to it. let's start today and have'em run all the colors across the screen that youneed to paint along with me. and while they're doingthat, come on up here and let me show youwhat i've already done.

have my standard old 18 by 24 inch canvas, but you use any sizethat's convenient for you. we just use this because it sorta fitsthe television screen. the bottom of it i havecovered with a little bit of black gesso. and you can put it on with a sponge or foam brush or just paper towel. it doesn't matter, anything to cover it

and then let that dry. then we've applied some transparent color down here on the bottom of this. and today i've used a little sap green and van dyke brown mixed together. and it's still wet. the black gesso has dried but the transparent coloron top here is still wet. okay, and then the top we've just covered

with a little bit of liquid white, and it just makes the canvasnice and wet and slick and it allows us to actuallyblend color on the canvas rather than working ourselfto death on the palette. so i tell you what, let's just take off and have some fun today. let's start with thislittle two inch brush here and we'll go right into a small amount of the phthalo blue.

and all we do is justpull a little bit out and then tap it into the bristles. by tapping, and turn thebrush over, tap both sides. see that assures a niceeven distribution of color all the way through the bristles and that's what we're looking for. and it's easy to add more color, but it's a son of a gun to take it away. so start with a little bit of color.

you can always add more if you need it. we'll go right up to the top of the canvas and we'll start, we'lljust do some little xs, little criss cross strokes. and we'll work all the way across the top. now the color is continuallymixing with the liquid white. and it creates all thosebeautiful variations that we want. let me put a little morecolor on the brush here. there we go.

but start at the top and work down. and that way our sky willget progressively lighter toward the horizon. and that's exactly what we're looking for. in a landscape you want things to get lighter toward the horizon and darker as they comeaway from the horizon. so by using the liquid white and allowing the color to blend,

that effect happens automatically. you really don't have to worry about it, it just happens. and that truly is the joy of painting. there, we'll just work this right on down. i thought today we'd start this series with just a very basic little painting. and if you've painted with us before this'll be an easy one for ya.

if this is your first time,then you can see one of the ways this fantastic technique works. okay, now we just take and very gently go across the entire sky. this just removes the brush strokes. that's all we're doing. okay, and that simple. we have a happy little sky. and that's all you have to do

to make a very, very basic little sky. now let's build us a little mountain. i like the mountains. we'll take some black,little prussian blue, some alizarin crimson andwe just mix those together. i'd even put a littlevan dyke brown in there, just to dull it down some. pull the color out asflat as you can get it and go straight down with the knife,

cut across so you havea little roll of paint. and that little roll of paint should live right on the edge of your knife, right on the edge of the blade. now then we have to makeour first major decision in this painting. where does our mountain live? i think in my world it'sgonna live maybe right there. it is now anyway.

all we're doing here isjust pushing that color right into the fabric,right into the canvas. and this is pre-stretched canvas, we do not recommend the canvas boards 'cause they have the tendencyto absorb the liquid white and you end up with a drysurface almost immediately. maybe, maybe here, yeah, right there. we'll have another little bump there. just wherever you want 'em.

and painting is a very individual, everybody will see naturethrough different eyes and everybody has their own idea of what a mountain shouldlook like, or a tree. all we wanna do here is showyou how to make these effects. what you paint is totally up to you. we just wanna show you how to paint. just to get you, just to get you started. there, now using a big brushand very firm pressure,

i wanna pull this down. the only thing we'reworried about right now is this nice outside edge. we could care lesswhat's happening in here. but once again, because we have the liquidwhite on the canvas, the color is blending withthat and as you can plainly see automatically as it goes down it gets lighter and lighter in value.

and once again, thatwill happen automatically when you have the liquidwhite on the canvas. and it's just an oil base, white paint that allowsyou to do all this. you can just blend it right on down and already that mountain looks like it's almost sitting out there in the mist. i tell you what, let's wash the old brush. that's the fun part of this.

that's the fun part. shake off the excess and just, (chuckling) just beat the devil out of it. as i say, that's thepart that's the most fun. let's take some titanium white today. and we'll reach up here andi'll get a very small amount of the dark sienna. don't want much, justa little dark sienna. a little bit, maybe i'll even

put a touch of the bright red in there. oh that's nice. i just wanna flavor this a little. just enough to flavor it a little bit. now when you do yours, you make the determinationhow much you want. let me wipe the knife here. and we just wipe our knifeon a clean paper towel. then we can cut off ourlittle roll of paint again,

so it's right on the edge of the knife. and let's go up in here, nopressure, no pressure touch. and let that knife justfloat, let it float, let it float right downthe side of the mountain. think about where light would strike. okay let's go right in here. zoom, gotta make those little noises or it doesn't work right. there.

just pull. see there how easy that is though? and you can change it toany color that you wanted, any color that you wanted. sometimes i like to dothis with a grey color that looks like stones and rocks and, depends on where you live. maybe in your world youdon't want a mountain. then you can paint this sceneand it'll be very beautiful

without a mountain. it's up to you. it's really up to you. as we mentioned earlier, painting is, is as individual as people are. now then, we have to start thinking about little things maybe, in my world, i think there's a little lightgonna strike right there. so we'll put a littletouch of light there.

and we'll take some white, we'll use a little bit ofthat mountain color with it. and a little bit of phthaloblue with it, what the heck. maybe a little more blue there. and with that we'll makeus a nice shadow color. now this shadow color shouldbe lighter than the base color that you put on your mountain. but certainly darker than your highlights. so somewhere in between.

you have to reach a happy medium. once again our little of paint, okay? let's go up here. now if this one's gonnabe the farthest away, we'll do this little rascal first, put a little bit of shadow right there. all there is to it. now watch, watch. come distinctly through

and look how it pushedthat little devil back. bet you didn't realizeyou had that much power. but on this piece of canvas you have total and complete power here. you can do anything that you wanna do. you can move mountains, rivers, trees. you can determine what your world is like. there's tremendous amountof freedom on this canvas. and that's what makes it fun.

that's what makes it fun. now then, and you can come back in here, see this line is very straight. now we can come back in here and we can put all kindsof little ridges and bumps and little places where the mountain goat would have to live up here. he's gotta have a little home too. we'll just let that run right on down.

okay, but each one ofthese little projections needs a little shadow. needs a little shadowor it just won't play. it'll go hide. see how that little shadowjust brought it right out? watch though, maybe itgoes right over here. i don't know. don't know, it's up to you. you have to make these big decisions.

but notice the angles here. all the highlights aregoing in one basic angle. all the shadows aregoing in one basic angle. they vary a little, but overall, overall they're going in the same angle. 'cause if light's coming through here, it's only gonna strike on a given angle. now with a good clean, dry brush we can tap the base of this a little

and create the indication of mist that lives right down at the bottom of this big ole mountain here. lift gently upward, upward, following the angles in the mountain. and that removes the little tap marks and brings it all together. over here go in this direction. tap a little and blend.

alright, now maybe we'llget a little crazy today. i like to do that. let's take, i'll use alittle of the mountain color and we'll go right into some yellow, i got a little cad yellowhere, a little yellow ochre, we'll just use the sameold two inch brush. doesn't matter, maybe a little touch of the sap green here and there. maybe in our world therelives some little trees

that sorta grow right upthe side of this mountain. and to do that all you haveto do is take the big brush and tap, but most, most important here, we need to follow these angles. need to follow these angles. if you don't, it justabsolutely won't look right. vary the colors between darkergreen and lighter green. back and forth a little. just a little, maybe sort of determine

where you think a littletree would live right here. and how far up the mountain it would grow before you reach the tree line. or, the place where it gets too cold and too high for trees to live. if you've painted with me before you know i lived in alaskafor, well over a dozen years. and i just absolutely fell in love with the fantastic scenery that's there.

god was having a goodday when he made alaska. it is gorgeous, absolutely gorgeous. but these kinda sightsare pretty common there. now we'll take a clean, dry one inch brush and very lightly, little short strokes. i wanna grab that and lift upward. just lift it upward, upward, upward. and sorta let it blend together a little. and you just sorta workback and forth here.

but gently, gently lifting upward. always going upward. think about the little trees, even though they'regoing at an angle here, they would still grow straight up. so keep these lines going straight up. sometimes the tendency,the mountain go this way to make your trees like that. and it'll look like the biggiant sneezed or something

and blew 'em all over. we don't want that. and you can even touch a littledark color here and there. and just pull up the indication of some that are a little darker. you can continuallyplay this back and forth between the darker greensand lighter greens. and it's a nice way of makingvery effective little trees that are growing up theside of this mountain.

okay, shoot that's so much fun. i tell you what, wash the old brush again. i just look for reasons to wash the brush. (chuckles) alright, we're in business again here. let's take, let's get crazy. let's have some fun. we'll take some prussian blue, some van dyke brown, some midnight black,

maybe even a little sap green. we'll just mix all those together. just mix 'em together, make a big ole pile of dark color here. it should look black, should look black. okay, now then, tell you what, let me wipe the ole knife off. fact, we'll get a, let's get a fan brush. shoot, that's fun.

i'm gonna load the fan brushfull of this dark color, both sides, a lot of color. let's go right up in here. maybe in our world there's a little, maybe there's a littlefoothill that lives right here. tell you what i'm gonna do, i'm gonna add a little, little bit of white to that, i wanna lighten it just a little,

oh that's much better. went a little bit lighter. but there's some little footyhills that live right here. some evergreen trees are growing on it. and they're much closer to us. much closer to us. so they're darker, they're much darker than this background back here. just tap 'em down with the fan brush.

this is one of the neatest waysthat i've ever come up with of making the illusionof a lot of little trees that live far away. and you determine how manyand where and all that. now then, we can take a clean, dry two inch brush and i'm just gonna tapthe base here a little. i wanna create a little bit of mist at the bottom of these trees.

and this tapping will cause the liquid white to come through. and a little bit of that color will show. lift upward, just totake out the tap marks and bring it all together. see there? there we go, there we are. maybe, maybe in our world, we'll just use that same old fan brush,

it's working so wellhere, let's keep going. load a lot of the pure dark color on it. let's go right up here. maybe there lives a happy littleevergreen tree right there. we just use the corner of the brush. and just go back and forth, see there. that easy. and let's give him a few friends. we don't want him to get lonely back here.

my gosh, with a scene likehe's got to look at here, he'd have to invite all of hisfriends over to see it too. this is just, this is just too nice for him to keep for himself. there's a little one. put the little guy rightup here in the front row so he can see all of this too maybe. notice how these littlemisty areas make those trees really stand out.

that's why they're so important. that's your separator,that's your good friend. that's your good friend, take care of him. take care of him. and you put as many or as fewas you want in your world. one thing that we're trying to do here, is just to teach you a method. we're really not tryingto teach you to copy. that's the reason we have no patterns

or we don't do any tracings on the canvas. we wanna teach you freedomwith this technique. and turn you loose on the world. just absolutely turnyou loose on the world. because once you know the technique, you can do anything. take a little blue, alittle tiny bit of blue and white and a littlebit of the dark sienna. pull it out flat and get aleast little roll of paint

right out here on the edge of the knife. and let's just make theindication here and there of a little tree trunk. right in there. or right, we don't want many, 'cause you wouldn't see all of 'em. oh you're just gonna seea little here and there. and you can just, 'cause you've picked upsome paint on your knife

you can just make the indication of some little sticks andtwigs and all kinds of things that are just projecting out of that. because in the woods, in theforest, they're always there. now then, i have severalfan brushes going. let me just grab another one here. let's put some highlights on that. we'll take a little,little bit of the color we made the trees out of,'cause it has blue in it.

and mix it with some cad yellow and a little yellow ochreand a little indian yellow, what the heck. and we'll make us a nice green. if you want it darker, add a little more of that treecolor to it and instantly, because it has blue and black in it, see, it gets darker. let the paint work for you.

now then our light's coming from the right because our mountain tells us that. so we wanna place more emphasis on the right side of thetree than on the left. then we just put theindication of some highlights that are showing through on these trees. now sometimes, sometimesthis gets feeling good. and you cover up all the dark. we don't wanna do that.

if we lose all that nice dark then our tree becomes flat. it's that darkness that's deep in the tree that creates the illusion of shadows and makes depth in the tree. otherwise it'll be avery flat, little tree. we don't want that, wedon't want any flat trees. we want trees that, the sonof a guns have personalities. they're like people, each one's different.

some are tall, some are short. some are heavy, some are thin. they're like people. i mean this painting canreally and truly become a world on its own. you can find anythingthat you want in here. you can find peace, you canfind calm times, anything. it's right here. shoot, let me get off my soap box here

and find a brush and let's get crazy. let's make a, let's make abig evergreen right there. and for that, i'm gonna, tell you what, i'm gonna pick up the old oval brush here. we'll go right into that same tree color. now this is the oval brush. the end of it, let me holdit up here so you can see. the end of it's sorta round. and it's easy to distinguish,'cause it has a black handle.

and the rest of 'em have white handles. easy to tell the difference. okay pull it like that til itcomes to a nice, sharp edge. make a decision. maybe our big tree, we're gonna have one that's gonna live right there. we start out by just making a little line. that sorta gives you a guide. take just the end of the brush.

now this is gonna be oneof them big evergreen trees that sorta saggy. the limbs hang over. i like this brush formaking these kinda trees. see how the limbs hang. oh, i like that. but you can do this with a one inch brush and have straight limbs. you can do it with a fan brush.

i use a fan brush very often. or you can do it with a two inch brush. it all works very well, but if you want these hangydown looking limbs like this, i find it much betterto use this oval brush. now then all we're doing here is just placing in somevery basic little shapes. just think about the arms on this tree that live out here.

where you want 'em. maybe this old tree lives, i don't know, somewhere down in here, we don't care. i don't know, that was fun. (chuckles) i like makingtrees with that oval brush. i tell you what, let's make another one. let's make another one. maybe our other tree, maybewe'll have one right there. and we start out the same way,

just make a little line. and, back and forth, back and forth. just sorta let that rascalcome right outta that brush. it lives in there. he lives in there. ole tree now sometimesthey'll hide in there, you have to sorta force 'em out. but isn't that a fantastic way of making some very beautiful evergreens?

now, shoot, you know me. i think everybody needs a friend. so we're gonna give him one right here. right there. there, see, there he comes. and we're not concerned in this area. that's all so dark, we'llseparate all that with highlights, all that with highlights. let's take a little bit of thatcolor we had for our trunk,

and we'll just touch with the knife. and just once again, we'renot gonna see much of it. all we wanna do here, is just show a little,just here and there. just wherever you think it should show. like that. i think i'll was theole oval brush out here. let's have some fun withsome highlight colors. okay now then forhighlights i'm gonna take

a little of that tree colorand mix it with the cad yellow. and the yellow ochre and alittle of the indian yellow. but mix all these colors on the brush so you have a multitude ofthings happening on the brush. you don't end up with one dead ole color. alright, now then think about your light. it's coming from the right. now we can go up in here and just begin putting in the indication

of some beautiful highlights that live right here on this tree. see 'em? there they are. let's just put some in. but this is where you makeall those old hangy down limbs and we're going straight inwith the brush, straight in. and just touching. just touching, letting thosetop part of the bristles,

just the top part of the bristles touch. right there, see there? now then, let's go overon the other side here. and do the same thing for him. if we left him out, shoothe'd probably be angry. probably be angry. we don't want that, we wanthappy trees in our paintings. (chuckles) i get some letters some times, people say everythingin your world is happy.

and that's true. we try to keep everything happy in here. shoot, if you want badstuff, watch the news. in this world, we onlyhave pleasant things. now then, sometimes it's fun. i'll just dip this into alittle bit of the liquid clear. and i want a real thincolor, much lighter, but i use the clear to thin it. and then it'll, it's very thin paint now.

you can go back up here and pick out where you think light wouldreally zing through here. and just put on a few sparklers. don't over do this. don't over do. 'cause it gets good. just here and there. but that clear thins the paint. you know our golden rule here

is a thin paint willstick to a thick paint. we use very firm paint untilwe get to the highlights. and maybe just a few over in here, i don't want too many on this tree. just a few, there. alright, we're alright there. now we have a transparent color here. this was sap green and alittle bit of van dyke brown, just to dull it.

i'm gonna take purewhite, just titanium white on the two inch brush. you have to make a big decision, where is your water? i want some water in here. touch this and pull it straight down. it's important that itcomes straight down. then that sap green and van dyke brown, they'll make somebeautiful, beautiful colors.

and it's fun to prepare thiscanvas when nobody's looking and when you do this, especially if you're painting for someone, they think it's magic. now we go straight across. and that'll create the illusion of water. now take a one inch brush, puta little liquid white on it and go right through some of that color. just a nice green color.

and let's back in here, put the indication of just a happy little bushor two that lives right here, right on the edge of the water. something like that. little van dyke brown, a littledark sienna mixed together. and we can put the indicationof some land back in there. a little bit of brown and white, put a little highlight on it. shoot, we're in business.

a little bit more of that color. maybe there's a shoo, looky there. little bank lives out here too, see, just sorta let that go,barely, barely touching though. and a little bit on the other side. see, we can put another bank over here. in your world, you make these decisions, decide where all these little things live. take a little touch of theliquid white on the knife.

and we'll just cut in a little water line. and this separates, just separates. it's just straight liquid white. a few little ripples here and there. shoot we 'bout have a finished painting. i think that, i thinkwe'll call that one done. but this is a good example ofhow easy this technique is. so i look forward to seeingyou in the next show. and until then, happypainting, god bless my friend.

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