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

I'm Nicholas Hankins and today I am in kind of a sunset mood.

I hope you are too because you're coming with me.

How's that sound?

Come on up to the canvas and I'll tell you what's going on.

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

And it's already been covered with a nice, thin, even coat of the liquid white so it's all wet, slick, ready to go.

Hope you are too.

I'm going to pick up a pretty, pretty uh, generous bunch of bright red and we're going to come up here and just kind of barrage this sky with some nice bright sunset tones.

I'm usually kind of, uh, careful with bright red.

I don't use a whole lot because it will, it will light your world on fire but that's kind of what I want to do today.

We're just going to light it on fire.

Make this old sky glow.

There we go.

Just using our little crisscross strokes as we normally do and I'll let that fade a little on the top and the bottom.

Just let it work right into the liquid white.

And while we've got that color on the brush, I'm going to, I'm going to sprinkle a little down here in the water just using level strokes.

Now, we'll brush back and forth because as you know, whatever's in the sky is typically going to be reflected in the water, at least if it's still water.

There we go.

Now, let me set that brush down for just a minute.

We're going to grab a knife and make a little mixture here.

I'm going to pick up some alizarin crimson and just a little touch of the Prussian blue.

And I want to mix up a little, a little lavender color that kind of looks like, um, oh, I guess you could call it grape.

Kind of a grape color is what I'm looking for.

So we'll take a little taste test of this and see if that's what we want.

Just picking it up on the same dirty two inch brush, tapping it into the, into the the paint so we know we've got a nice even distribution on both sides.

And yeah, that looks about right.

I might even add just a little, just a little fuzz more of the blue to it.

Aha, that's it.

Bingo.

That's what I wanted.

We'll go over here and darken this corner a little bit and bring it in.

Again with our little crisscross strokes.

I want to keep this nice and dark at the top so it really feels like a dusky, late evening sunset.

Just the final, final little bit of light up in the sky before the sun calls it quits for the day.

Picking up a little more of our grape color on that same two inch brush.

I might even grab a little touch of phthalo green and add to it.

And we're going to come down in the water and again, with level strokes I'm just going to sweep in from the edge.

Put a little pressure on the outside edge and then sweep in like that.

Same from this side, pressure on the outside edge and then sweep it in.

And I'm lifting up and away and off the canvas as I sweep in.

That way we don't have a hard edge by touching down and going back that way.

Something like that.

Alright.

Now for the fun part, let's wash a brush.

And if you've painted with me or Bob before, you know that we wash our brushes in odorless paint thinner because they don't like water.

Shake out the excess, give it a good rap and we're back in business.

Alright.

Dry that one off.

Now I'm going to come back starting in the light area and working my way up into the dark area, just kind of blend that nice and soft until it all comes back together.

Can't tell where one color stops and the next color starts.

Do the same thing in the water down here.

I'm going to work through the light area first and then I'm going to work all the way across.

Just take some of those, some of those strokes out of there.

I don't mind a few in the water.

If anything, sometimes it kind of gives the impression of little ripples on the water.

That's fine.

Alright, let's grab... We'll take a little fan brush today.

Take a little fan brush and I'll pick up some titanium white - and stay right there, I'll come to you - there we go.

We'll just mix in some of our, some of our little grape color.

Making it just a little darker.

I'm picking up a little more blue and a little more crimson.

There we go.

Now let's come back up here and up in the sky I'm going to have some, some little, little tiny clouds just floating around and finishing out their day.

Maybe... Yeah, you can use little cradle strokes, just little zig zaggy type strokes if you want some little skinny clouds floating around up there with the big boys.

Like that.

Maybe there's another one up here.

Maybe, even coming off this side over here we'll have one.

There we go.

I'm just using the edge of the brush to kind of, kind of sneak them out a little bit.

Pull some little, pull some little threads out on them so they don't look too neat and tidy.

We want them a little rough around the edges.

Makes them interesting that way.

All right, let's take our little two inch brush and using just the corner, I'm going to give these a little blend along the bottom edge there.

I'm just knocking out the excess paint when you hear me doing that.

Give it a little fluff and brush across, something like so.

And I'm going to make another little mixture here.

I'm going to take some titanium white - maybe we'll park it over here - a little bit of my Indian yellow, a little bit of my bright red.

Make a real bright orangey, peachy orangey kind of color.

That should compliment the grape pretty good, shouldn't it?

[chuckles] We'll find out.

We'll put a little on there and find out.

And I'm just going to load some of that same color into my, into a clean now small fan brush.

And I'm going to come back and if this is sunset, we'd see a little light playing most likely along the bottom of the clouds.

Even the little, even the little skinny ones.

Even the little skinny floater bys.

They'd have a little light lighten them up too.

Something like that.

Those are some of the most dramatic clouds, I think - the sunset clouds when they get that nice bright [Nic makes "tchoo" sound] shot of light on the bottom.

Two hairs and some air then we'll float across those.

Okay, shoot, that's a pretty good start I think.

Now, we've got a big decision to make.

We've got a big decision to make.

I've got to mix up some dark color and we're going to plant a mountain by the, by the sunset lake.

Clean up a little spot on my palette and let's start and we'll use some Prussian blue, midnight black, Van Dyke brown, and alizarin crimson.

I'm just going to mix all those colors together.

Blue, black, brown, and alizarin crimson.

And I'm mixing a generous pile because I know I'm going to use this color later so go ahead and make plenty.

We'll need it.

Now, let's pull that out very flat on our palette and we'll cut across.

That gives you a nice, little, even roll of paint all across the end of the knife there.

Okay, let's come up here and decide where our, where our big mountain lives.

About right there, about right there.

And just kind of mess around with that top till you get it the way you want it.

Then we'll come down in here and really scrape and push that paint.

Just feel like you're taking that paint and pushing it through the back of the canvas.

Another little bump over here.

And let's have another little bump over here.

And once again, push that paint into the fabric.

That's a pretty good start, I'd say.

We'll go back to our little two inch brush, just knock some of that excess paint off of there.

And now I'm going to grab this and give it a little pull.

Stretch it out.

And because you have liquid white on your canvas, you have the magical ability to grab that paint and pull it and it blends out so nice.

And if you didn't have liquid white, right now you'd be in agony city.

And that is no place to be.

That is no place to be.

At least not if you want to have fun.

[chuckles] There we go.

So that mountain, by the time we finish blending, it should look like it's just kind of, just kind of floating in space back there.

It's not anchored anything yet.

Not worried about that yet.

We're going to, we're going to turn that into something right now.

Right now.

We're going to grab some titanium white.

I'm going to move it just, just beside my mountain color and add a little bit of that mountain color to my white.

I want to gray this down a little bit since this is kind of an evening scene.

I don't want real bright snow on the mountain.

It's kind of shaded so I've got a little bit of that gray worked in there.

Now with a little roll of that paint, I'm going to touch the point of the knife to the peak of the mountain and just allow that paint to break.

Now, don't push down once you have a nice little roll and it, and it contacts the canvas, don't push down on it, just, just drag it along behind your hand and the paint and the equipment will do the work for you.

Touch [Nic makes "sssshooo" sound] and no pressure.

Touch down [Nic makes "tchoo, tchoo" sounds] and then just let it come right on down.

No pressure.

[Nic makes "tchoom" sound] And I've never met a mountain that didn't, didn't work a little better with a few noises.

[Nic makes "sssshoo" sound] So, it's like, it's like an unwritten rule in the Bob Ross painting world.

If you make a noise, it'll work better.

Seems to be the case most of the time.

Put just a, just a little dab on that one back there.

It doesn't need much.

Okay.

Now.

I'm going to make a little separate pile of white, some of the mountain base mixture again, a little more of it, and I'm going to add some Prussian blue, a little stronger dose of Prussian blue.

so this is a little cooler, a little cooler darker.

There we go.

I've got my other close by so I can kind of compare them.

I might even add a little bright, or excuse me, you're alizarin crimson.

[chuckles] I might even add a little alizarin crimson to that.

There we go.

Now let's come up here.

And again, I'm going to touch and just gently [Nic makes "tchoo" sound] let that fall away.

Let the canvas take what it wants and it'll give you back what's left.

Sneak in behind this big peak here.

[Nic makes "shoo, whhhht" sounds] Let that fall down.

And we'll just [Nic makes "tchoo" sound] push that one right on into the background back there.

See that?

Sometimes it's fun to take the small edge of your knife and sort of, sort of carve out some little spots.

Rough up that old ridge line a little bit.

Or if you have little, little places like that, you can sort of sneak in there and drop a little shadow into them.

Looks kind of neat.

Looks kind of neat.

Let that come on down.

Like that.

There we go.

A little behind this one [Nic makes "tchoo" sound] A little in that little crevice right there.

Whoo.

Got to be sneaky.

Get in and out of there.

[chuckles] Alright.

Now, let's take our, take our two inch brush once more and I'm just going to tap and soften along the base of our little mountain here.

I'm following the angles in the mountain.

I'm not going to come through here and [Nic makes "tch, tch, tch, tch" sounds] cut it all off in a straight line.

And then we'll come back and just gently sweep with a couple hairs and some air.

And we're going to get rid of those little tap marks that you find that sort of show up when you do that.

Alright.

Now.

Just to keep things rolling along here, I'm going to take some of that mountain highlight color, mix in a little more of my mountain base color and I'm going to add a little touch of sap green and a little Van Dyke brown maybe.

So I'm just building on to what I already had going there.

This'll be some of our, some of our footy hill color.

Got to plant some little footy hills back there at the base of the mountain.

So let's find a little, there's a little one inch brush that'll work.

I'm going to load it with some of that color and just give it a little tap, tap, tap, a little tap, tap taparoo.

And then we're going to come in here and just start to tap, tap, tap onto the canvas some little, little shapes, little footy hill shapes, some type of vegetation growing on those.

Maybe that comes right on up and off that side of the canvas.

And as your, as your foothills work down then, I'm just going to kind of continue to tap them.

Soften, soften, soften, soften into that existing color so we get some nice, warm mist or fog or atmosphere down here of some sort.

And I'm always thinking about the shape of the land or the lay of the land.

As I do that, I don't want to just tap at random all, all over the place.

I'm just thinking how does that kind of roll down to the water like that?

And how would all this stuff be planted and sitting on that piece of land that's sloping over.

Those are the little things you have to kind of think about as you paint.

And it helps make your painting look that much more realistic when you think about those things.

We'll grab some of that color and pull it down into the water a little further.

Give it a little sweeping blend and then we've got some instant reflections just like that.

Maybe, maybe way, way, way back here on this little one.

I'll grab my little fan brush I was using earlier for the clouds and just kind of fill it up with some of that color.

And maybe, maybe back here is just a little, little teeny tiny indication of a, it's actually a big tall evergreen but from this far away it looks like a little bitty one.

Itty bitty little one back there.

And we'll give him a little friend of course, just using the corner of the brush and tap it back and forth like that.

Be another good spot for one right there.

There you go.

Just way far away.

We'll even kind of tap them in there and make them sit down like they belong.

Like they were invited to the party and they didn't just show up.

Now, let's take a little bit of our, our color we were using up in the sky to highlight our clouds, that orangey color and I'm going to add some liquid white to it.

Mash it out nice and flat on the palette.

Just sort of mix that all together.

Cut off a tiny little roll of paint there.

And we're going to come up and cut a little water line into our, into our proceedings here.

Separate our, separate our land from our water.

Alright, let's have a little more fun.

More of the mountain based color.

More the green, more of the brown into that.

Mix it all together.

It's still not as dark as it could be, but it's darker than what's up there.

And I'm going to use that and a big fan brush.

A great big fan brush.

Make sure it's cleaned off there.

I'm going to fill it full of this darker color and we're going to have some closer, closer darker trees living right there.

Just take that corner of the brush and work it back and forth, back and forth, back and forth.

And you know the saying, those little trees live in that brush and you just have to get up here and push them out.

That's all there is to it.

And it's so true.

You're just kind of using the shape of that little brush to create some little branches and boughs.

There's another one.

And all I have to do as I work my way down the tree is just push a little harder.

I'm just taking that corner and spreading it out.

Have, yeah, one right there maybe.

It's a whole family of trees.

It's the Evergreen family.

There we go.

We'll just let him wander wherever.

It doesn't really matter at the bottom because I'm about to pop a little land under their foots here.

We're going to take that same green color on that same one inch brush we were using.

This is our new darker color.

And I'm just going to add a little land underneath those trees like that.

Pull a little bit of that color into the water, soften it, brush across, and we'll give that little, that little plot of land some reflection and waterline separation.

Little shoreline there.

Make it sit where it's supposed to once more.

Okay.

Now, tell you what, let me, let me take leave of that color and we're going to mix a new batch of super, super, super dark color.

So I'm picking up more, more Prussian blue, midnight black, Van Dyke brown, alizarin crimson, rest of our mountain base.

Even a little, even a little phthalo green in there.

We're going to go for the gusto now and we're going to get it all mixed in there.

Big batch of dark color.

We'll come back to our little, our little fan brush.

I'm just going to rinse out that previous color because it's a little lighter and it's got some white in it.

I don't want any of that in there.

And we'll load it full of this new super dark, rich, dark green color.

Get it on both sides of the brush and we'll come up here and have [Nic makes "tk, tk, tk, tk" sounds] big tree right there.

This one's up in the foreground.

I'm planning on, in fact, I'm planning on seeing so much of the trunk on this one we're going to make this one kind of sparse looking.

I'm going to see so much of that trunk that I want to take a little bit of the two browns and titanium white, just mix them up, get a little, little roll on my knife and I'm going to create a little bark texture there just so it just, so it'll show through.

Like that, in case we see it.

And I'm planning on leaving quite a bit of this one showing.

He's, this one's had kind of a rough old life.

Just, just a few little branches every so often here.

At least till you get to the bottom.

He gets a little healthier down there.

He's, he's had a hard life.

That one.

All right.

His neighbor here, however, is doing much better.

He is perhaps a bit envious.

[chuckles] It's like a soap opera of trees.

Maybe, yeah, another one right there.

The intriguing story of "Days of Our Boughs".

Okay, maybe there's one right there.

Getting closer, getting darker now.

Taller.

[chuckles] In fact, so tall.... Yeah, we're going to join this one already in progress.

[chuckles] He's, he's going to have a few spots showing too in his trunk there.

Interesting.

Make him interesting.

I'm not too concerned with all this just yet.

I'm just kind of getting some dark in here so we know where they live and then we'll, we'll come back and pretty them up in a minute.

I want another one right there.

Again, just the corner.

Especially to start.

And as you work your way down, push harder and harder.

What a family of trees.

This is just like primo, primo pine tree growing country up here, apparently.

Bunch of them.

Little bit of, little bit of detail on some of these trunks.

I'm just touching a little bit of that brown to the, to the center here and there.

Sharpen up the top edges a little bit.

Maybe there's a couple of stray trunks in there still kind of hanging on for dear life.

Now we can take our, our dirty fan brush.

I just kind of wiped it out on a paper towel so I still have a little bit of that base color in there.

And then I picked up liquid white and I'm grabbing touches of just all the yellows.

Now we can come back and dance a little, a little touch of highlight on some of these branches.

They don't have to be super, super, super light.

Again, it's a, it's a low light kind of situation here.

Final embers of sunlight just kind of dancing across the boughs.

Doesn't that sound romantic?

There we go.

If you have any trouble making that paint stick, just, just add a little more of your, a little more of your liquid white to it.

There we go.

Don't want much on him.

He's way, way, way back there.

Now, I'm going to turn my two inch brush up in the air and just pull it through some of this dark and I need a little, I need a little land for some of these trees to sit on out here.

A little there, a little, little more on the other side over here.

I'm just going to block that all in nice and dark in the foreground.

Those are bushes and tree boughs and all that stuff down here in the foreground so... yeah, something like that.

Over here, I'm going to see some of that reflecting, though, into the water.

Isn't that a pretty color?

Shoo.

Grab a little, little one inch brush, a little liquid white.

And I'll again pull that through some of these, some of these beautiful yellows and we'll pop a little, little highlight here and there.

There we go.

A little reflection in the water.

Come over to the other side and we'll do a little bit of the same over here.

I'm just going to let these colors vary a little as I go.

There we go.

Just all sorts of things.

Maybe there's even a little bright red in, in a few spots.

Orangey color.

Yeah, like that.

I like that.

Go back to our little knife here, a little bit of that brown.

Just pop in a little land, a little dirt and soil underneath those.

And we'll give those a little, little water ripple.

And I'd like to thank you for watching.

We'll see you next time.

Bye bye.

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