Fall Painting for Beginners - Bob Ross with BOKEH background.

Hello and welcome back to the channel. Today's painting is a little bit different. You see I asked you a question recently in a poll whether you wanted me to do some more Bob Ross classics with a unique twist of my own or whether you'd like something new and original exciting to look at and the results were overwhelming. You wanted something new and exciting and original. Well I couldn't produce that so I did my very best. Here's the results and everything starts with a blank canvas. Now you'll have to watch to the end to see how the final painting turned out. Aren't I cruel to you? That's a real gotcha! Happy painting people! So here's my canvas 16 inches by 20 and the very first thing I want to do is a bit of an underpainting. I'm going to be mixing some green and red together to make a warm brown colour. Any green and any red will do. You can make it slightly more ready or slightly more green. There. I'll also add some black acrylic to my plate. I'm going to use a piece of car sponge. Just cheap simple car sponge just to stipple on the colour and I'll also be using a couple of bristle brushes and maybe a synthetic liner as well for some trees in the background. But let's start off with a little bit of simple layout. Nothing too complicated. About a third of my canvas up I just want to drop in the suggestion of a horizon line. Keep it simple. My top tip at this stage you don't need anything too complex. I'm going to be covering up most of it but it gives you an idea of position and shape and form. This for instance is going to be a simple pathway and in the background lots of trees. I'm going to start with this warm brown colour first. We nicknamed it Christmas Brown from hollies and berries. Green and red. I want to gently build up my colour get this lovely autumnal brown tone running through my painting. I have added a touch more red to that colour to make it a sort of a more of a dark burgundy colour. I'll use a little bit of that on top of this light brown colour but I want to preserve that bright light patch in the centre there. That's my point of interest where my eye will be attracted to later on in the painting. Now time to add some black. This is for the outside edges of my painting. I really want everyone's eyes to fall into the centre of my picture first. So I've mixed some of that brown and black together. As you add this black colour make sure you stand back occasionally. If I have a top tip for this it is to make sure it's dark enough. If you don't have enough dark then the highlights won't show. I'm going to add some background trees using this synthetic liner brush. I've added just a couple of drops of water to my plate to thin my paint slightly. It wants to be thin like ink. Roll your brush through the thin paint and then hold the brush roll back. Paint with just the very very tip of the brush to start with. This will produce lovely fine detail. Later on you can add bigger stronger trees maybe by just using the side of the brush a little bit more. Use whatever brush you have to hand. So here's my finished underpainting. Now time to let it dry. I'll use my special artist watch to keep an eye on the time. So here's my nice dry canvas. Time for some oil paints and I'm going to start with this Bob Ross liquid clear oil paint. I keep it in a little airtight pot for ease of use. I've got two Bob Ross landscape brushes one inch in size. This nice new one for the highlights and this old one I'll be using for applying liquid clear and some of the underpainting colours to my canvas. I'll also have a filbert brush, a fan and a liner. I didn't actually use the fan in the end and of course a Bob Ross palette knife. Let's get started with the liquid clear and that old one inch brush. Just take a small amount and dab it around on your canvas and then take a firm grip of the canvas give it a good scrub. Notice how the colour of my canvas changes. The liquid clear makes all my colours much richer but I only need a very thin coat. I'll post a video in the corner to show you how to use it properly. Look at how much richer the underpainting looks with some liquid clear. Here's my palette for today's painting. On the top a thick dark heavy colours for an underpainting and here on the left all my highlight colours. I'm going to start with the Indian yellow colour first and I'm going to carry on using my old one inch brush to apply it. Indian yellow is a semi-transparent colour. It has a magical effect when painted onto the canvas. Anywhere that doesn't have any underpainting brown or black picks up this lovely egg yolk yellow colour and produces the most amazing golden glow. A very autumnal colour indeed. It also reacts very nicely with that burgundy brown colour produces more red tones. I'm going to go into some titanium white with the same brush but add a little bit more Indian yellow to it. I want a really warm bright yellow colour just on the corner of my one inch brush and do you remember that point of interest? That's where I'm going to put my brush. Just sit it on the corner and give it a little twirl. I'll move my camera in a minute so you can see a little better what I'm doing. I'm allowing this colour to blend with the Indian yellow already applied to the canvas and although titanium white is an opaque colour, in other words you can't see through it, if you apply it very thinly it can look just like mist or fog. Now for some dappled sunlight I'm going to use my finger and make small circles. This is called bokeh effect. It's light coming through trees it gives that sort of broken patches of light and little sparkles here and there. It's very effective and I use my finger to do it. Word of caution don't overdo the bokeh effect. It can just look very patchy in the end and just a little bit over the top. I'm going to mix up a new highlighting colour. Indian yellow and bright red produces a rich lovely carroty orange colour perfect for autumn leaves. I want a lighter colour so some cadmium yellow with some of this grubby white. Lovely. And of course I need a nice rusty brown colour so I've got some more sap green and bright red. This time is the oil paint version and it produces a warm rich transparent brown colour perfect for those fallen leaves. Time to add some highlights to my painting. Top tip here use a newer brush for highlighting. You want something with lovely soft bristles. I groom it through my paint in one direction and then give it a little push. I'm going to start with this bright yellow colour. Create a little ridge in the paint. It's the same ridge that you'll find on the edges of the brush. I'm going to start right back here where I think it would be brightest from the sunlight and you see I angle my brush and use just the corner of it. Every time I touch every little bristle leaves a speckle of light. Let's try some of that lovely carroty orange colour. Again pull it out then give it a little push. Angle the brush onto a corner and tap gently and again it creates this beautiful delicate pattern but don't worry about those trees they'll be just fine. We'll fix them later. As my brush runs out of paint I work in the more shadowy areas of my forest floor. Now then go back with some fresh colour and slowly build up highlights. It's a gradual process so don't rush it. Back in here I want some brilliant orange colour so I freshly loaded my brush and again tapping with the corner of the brush and following the lay of the land up behind those trees in the background. As you see the trees are still there. I can run my finger over them or maybe even a cotton bud to recover them. This is a very forgiving painting and one that I encourage anybody who's a beginner to start painting. Work slowly from the background to the foreground so you're not covering up your previous paint strokes. If you enjoy watching my videos and want to support my channel don't forget like and subscribe even leave a comment. If you really want to go one step further you can even buy me a coffee. I spend all the money on painting supplies. Thank you. I'm going to go into that transparent brown colour with my same brush. I didn't bother cleaning it. In fact I'll add a little bit more of that carroty red colour to it. I want to make a light gold brown colour for some background foliage way back in the distance in the back of my forest. This creates depth and distance to your painting. Use it sparingly and don't forget stand back regularly. You really can't see how well your painting is progressing when you're really on top of it. This is a very tricky painting to film. It's very dark and subtle but I've done my best to capture all the detail for you. Let's add some highlights to these trees. Same technique this time tapping on a corner and creating little umbrella shapes of foliage. This is a lovely time of year to look at trees and study how the foliage actually forms. One little umbrella standing on the shoulders of another. Allow your foliage to overlap the trunks of background trees. Again this is all about creating depth and distance in your painting. Here you can see how that dark underpainting colour really makes this autumn foliage sparkle. Time to fix those tree trunks. I start off with a small blade of my palette knife scraping off the heaviest of the paint. I then turn to my filbert brush. I put on some black and brown and just re-block in the shape of the trunks. It's an easy fix. For the really small trees in the background as I mentioned earlier I'll just use a cotton bud. The black acrylic is still there just waiting to be revealed. Uncover as many tree trunks as you want and if you have too many just rub your finger over it to make them disappear back into the mist. What could be easier? Time to paint a pathway. I'm carrying on with that van dyke brown and black colour I used on the tree trunks on my filbert brush and I just want to block in some of the dark areas of this pathway particularly under the edges of the foliage. I don't want to cover everything up though. I just want to create a sticky brown layer for my highlights to stick to. I'm going to make a marble mix. Van dyke brown, dark sienna and any light colour through the centre. Marble mix means you don't over mix it. Leave it sort of patchy. Now time to decide should I use a palette knife or a filbert brush to paint my pathway. I'm going to use the filbert brush. It's really just like a palette knife it's just soft. I'm going to take a healthy amount of this marble mix colour and with a very gentle touch something called a stick grip which means I'm holding it in the palm of my hand. I just want to create the illusion that there's a little bit of a muddy pathway so lots of dipping strokes here. Create that dip in the centre. I'll use a little bit of time lapse for this section but I'm indicating that there's a little bit more light on the right hand side of my path than on the left. After a while my brush becomes clogged with paint and it's time to just squeeze off some of the excess and get my brush back into a bit better shape. While I'm at it I'll mix up a fresh batch of marble mix. After you've loaded your brush a few times the colour tends to become sort of more like a caramel colour. It loses some of the vibrant colours that I've used to make the original colour. I'll throw in some bright yellow colour just for fun. I want this to be like sunshine on my pathway so predominantly again on the right hand side again I use the stick grip. It's a very gentle way of holding the brush so that it just grazes and bumps and jumps across the canvas. The textured underpainting takes off just what it needs for a highlight and gives you back what it doesn't use. I'll add a few more highlights just to bring those edges all together and to soften it all up. Now for some final details on the path I use the very point of my palette knife. I take small dots of cadmium yellow and white mixture, sometimes the orange mixture, sometimes the dark brown mixture and I just want to touch here and there to indicate a few leaves have blown across the pathway. You can add as many or as few of these as you like. I personally like to add lots but it's up to you. It's your world and your painting so you decide what you want. It's one of the joys of painting is that you're in complete control of what happens on the canvas. Time to add some highlight to my tree trunks. I'm going to use my filbert brush and some of that slightly more caramel colour to add a few touches of light to the right side of this tree trunk. I think this light is quite central so I'm going to add highlights to the left hand side of the trees on the other side of the pathway. Just add a few, stand back, make sure they're not too bright. If they are just run your brush back over them again or add a little bit more black and brown mixture. I think we're almost there. Time for a signature and a few outtakes maybe. So there you have it. An original painting completed using the Bob Ross technique, his brushes and paints. So what will you be painting next? Can't decide? Well stick around and watch another painting or two. Don't forget like and subscribe. Happy painting people. So that's the underpainting completed. Time to move on to the oils.