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

I'm Nicholas Hankins.

I hope you're ready to go down to the beach today.

I've got a little beach scene planned for us with our Bob Ross wet on wet painting technique so come on up to the canvas and I'll tell you what's going on.

It's pretty simple today.

I've just got my standard old 18 by 24 pre-stretched, double-primed canvas.

It's already been coated with a nice thin, even coat of the liquid white so we're ready to go.

Let's take a little... with that same brush I was just applying my liquid white.

With this take a little phthalo blue first.

Yeah a little bit of phthalo blue and let's come up here and just start to, start to paint a happy, little blue sky.

Just try to get a nice, bright middle of the day beach scene.

There'll be some motion in this, but I sort of, I sort of think of it more as a beach scene than a seascape, because the, I want to feel like we're maybe standing back in the dunes a little bit, looking at the beach and not down there so close to the waves.

That won't be as, maybe as big a focus with this one.

We'll just kind of, we'll hint at a little beach in there.

I want to darken the corners of this sky with just a little bit of the Prussian blue now.

Just on the same brush again, we'll go a little deeper, darker up here.

Get that sort of summertime humidity feeling in there.

Something like so.

A little on this side, too.

I like to do that.

I like to darken the corners just a little bit, sort of forces your eye into the, into the middle of the painting.

There we go.

Now.

Let's take and wash our brush.

We'll just wash it out in some good old, odorless paint thinner, shake out the excess and we'll beat the devil out of it.

Got to do it.

Got to do it.

All right.

With a nice clean, dry brush now I'll just kind of soften our, soften our sky a little bit, take the brush strokes out, and I want to build a big, big puffy cloud in the sky so let's grab a one inch brush for that.

Take a one inch brush.

Might get just a, just a drop, whew, just a drop of some liquid white and a little tiny touch of bright red.

I'm going to load that brush nice and full of paint.

Full of that titanium white.

All right, now let's come up here and just decide where we want our cloud to live and how big we want it to be.

Like I say, I want a nice big, nice big puffy one up here.

So I sort of, I sort of left a little hole for it there so I wouldn't have to pile so much white on there.

Have to, sometimes you have to plan a little bit.

Make up your mind about a few things before you get started.

Maybe it kind of rolls down like that.

Got a little on, on the back side.

I want it to be a little more in shadow on that back side, so I'm not going to put quite as much quantity of paint back there.

But I do want a little hint of a cloud coming around there.

A little more paint, maybe another, another little dose of the bright red.

That makes it pop off of there really nice.

And I'll come from this direction, kind of meet up with it.

There we go.

Big billowy clouds.

I could paint clouds all day long.

Clouds and mountains, I could just paint them all day long.

Probably my favorite things to paint.

But little beach scenes are right in behind there.

They're a close second.

It always puts me in a good mood when I paint a little, little ocean scene.

Who wouldn't be, right?

A little light sneaking through there and hitting that portion of the cloud.

It comes on down here.

Those are beach clouds, aren't they?

Big ones.

Great big ones.

I'm going to let that kick over just a little farther up there.

Just get a, just get a shape that you're happy with and then we'll go with it.

We could even take a little bit of that midnight black and make a little gray.

Come in here and put a little shadow within our, our cloud.

Because sometimes they do have a little shadow on the back side there or within the cloud to some extent.

Just kind of working in the opposite direction.

There we go.

There we go.

Go back to my little two inch brush here.

Make sure it's nice and dry and we'll blend this big, old cloud.

That's a big order of clouds.

About all we can handle.

There we go.

Smooth them down, soften them out.

There we go.

Now, let's see about some far distant ocean down here.

Let's just, I'm going to scoop up all of this white that I've got going.

It's got a little bit of color in it, but that doesn't really matter.

And well, we'll just brush, mix it and see what we like.

We'll start with the white.

That's the critical thing.

I'm going to add some, a lot of times when you look at the ocean at a distance, it kind of has a greenish cast, especially down here in Florida.

Let's see, we'll pick up a little bit of black, a little green, a little black, a little touch of the Prussian blue.

Yeah.

Kind of looking for a, looking for sort of a sea foam kind of green.

Something like that.

Let's try that.

Now, don't you laugh if this isn't straight.

I'm going to do the best I can here.

We're just going to kind of create a little distant horizon out here, something like that.

There we go.

Maybe that's good enough.

And then I'm going to just kind of let it fade on down, and then we can come back, sort of selectively darken it.

So I'll come back and grab a little more blue and black, a little touch of that green.

And I want to, I want to kind of sense that there are different depths to the ocean out here, even though it's just a little sliver of it.

We do want to see a little bit of variety within it.

There we go.

That's probably the hardest part of the whole painting right there is just trying to get it reasonably straight horizon line.

I even come back sometimes with a two inch brush and just brush right over it.

I put half the brush up in the sky and half the brush down in the water and it just sort of makes it nice and hazy out there.

It helps out a lot.

Helps out a lot.

Now, actually before I jump in and do any detail on the water, let's do this.

I'm going to take that two inch brush and just pick up, I'm going to pick up a little Van Dyke brown.

Oh, a little midnight black, mostly brown and black, a little touch of yellow ochre with it.

Brown, a little touch of black and yellow ochre.

And let's come right in here.

We're going to go ahead and spread a little sand.

Kind of right in this section.

And then I'm going to let it blend together.

Just walk right into the water.

That's what the sand does.

It walks right into the water until you can't really tell where one stops and the next one starts.

Now we can come back and play with our, our little ocean.

Let's take some titanium white, first on a knife I'm just going to come back here and kind of lay a little, little sparkle, a little sun, shiny sparkle back there way on the horizon.

Very far in the distance.

I'm just touching with the knife, touch and lift off.

And you'll be amazed how that will look like little sunshine sparkles on your water very, very far away.

And they just kind of trail off in either direction.

A little build up there.

You can kind of, kind of graze over it with your, with the little two inch brush.

Whew.

Just to knock it down a little bit.

And then we'll have some little far distant swells back here.

I'm just, now I'm going to take the knife and just kind of push in there.

Push and rub back and forth very firmly so it feels like you're, well, you're kind of using it like a squeegee, really.

It's a, it's a fancy squeegee.

You can kind of take the back edge of that, just sweep it back a little bit.

Maybe there's another, there's another little wave coming in front of that one.

Again, just rub very firmly back and forth, almost like a little, little sawing motion.

And you're just forcing the paint out from under the blade there.

Like that.

Isn't that neat?

Here comes another one.

Just coming right into the shore.

Occasionally we're coming back if there's enough room behind it to kind of sneak and grab and catch a little bit of that paint and pull it back.

Really gives you a nice little illusion of waves coming up on, coming up on the beach.

Let's see.

Let's have, let's have ... get when it gets up real close to the shore, sometimes they kind of wiggle on out and wander out there onto the sand.

That's what makes that sand wet and a little darker than the sand we'd be standing on back here in the dunes.

Just a, just a little bit there.

Once more, I'm going to sweep a little bit of that backwards, just straight backwards.

Don't have to pull up, just straight back.

Take our little liner brush and a little paint thinner, maybe a little touch of the liquid white.

And we'll have, maybe we'll see just a few little foamy things out here playing in the water.

[Nic makes "tch, tch, tch" sounds] Just little crisscross type strokes, little cradle type strokes.

[Nic makes "tch, tch, tch" sounds] I had one of my students one time described that as latticework.

I think that's a good analogy for how to paint little foamy patterns in the ocean.

Real good analogy for it actually.

It's better than anything I'd come up with to that point so [chuckles] I, I borrowed that.

All right.

Let's grab a, let's grab a clean one inch brush.

Now, I want to go in here and pick up a considerable amount of titanium white.

I'm going to, I'm going to tint it with just a little touch of the yellow ochre.

Maybe a little dark sienna as well.

Lots of white.

We're just going to get kind of a, it's almost a wheat color or cream color.

Something about like that.

Okay.

So let's come back.

Now, I'm just, I'm going to frame all of this with this light color.

This, this is the dunes in the painting.

So they're going to come down, [Nic makes "sshhoo" sound] swoop down like that.

[Nic makes "ssssoo" sound] Let's come on the other side now.

A little more of the ochre, a little touch of that Sienna, lots of white.

Brush is loaded nice and full.

Let's come from this side.

[Nic makes "sssssooowhht" sound] We'll just intermingle and mix with and hook on to and cross over and whatever, whatever direction, whatever pattern we feel like we want to make there.

I going to bring that up just a little higher right there.

Yeah.

Cut that off.

A little ochre, a little sienna, a little white.

A lot of white, a little of the others.

A lot of white.

[chuckles] There we go.

Now, let's just bring this right on down and kind of fill it in a little bit.

I guess you could do that with two inch brush if you're in a real big hurry but one inch brush seems to work pretty well.

I'm just going to decide here that adding a little more white to the brush still yet.

This one's a little, a little more on top, a little closer to us.

So I'm going to pull the highlight on that one out just a touch.

And then down here in the foreground, let's sort of work backwards.

Let's take a little, little bit of the sienna and ochre again.

A little more of that this time, though.

Maybe even a little touch of a Van Dyke Brown with it.

And we're going to, we're going to distribute a few little shadows down here.

A little variation in the thickness and the pattern of the sand.

Just so it's not all samey the same.

It'd be kind of boring if it was all the same.

Let's take a little, little Van Dyke brown, sienna.

We'll come from the corner and just darken this up a bit.

Start to sculpt our, our dune just a bit.

Maybe a little, maybe there's a little more back here behind that one.

There we go.

Just so we begin to see a little pattern in here.

And this is, this is fun stuff right here.

Watch this.

So I'm going to take, I'm going to take a little black and brown, maybe a little bit of that white.

Just mix it all together here.

Going to add some liquid white to it.

Go ahead, soften it up a bit.

Got a little pile of paint right there.

And let's grab a fan brush, dip it in a little paint thinner and shake it out, going to make a nice soft mixture.

And let me set my palette down, I'll grab a knife and we'll just begin to put some little, little textures on our sand like this.

I'm just flicking that, that fan brush against the knife blade.

You'll get all sorts of neat little splattered patterns on there.

These can be little shells or rocks or any number of things, but it sure makes some effective beach sand.

In fact, I like this best when I, when I do a few little splatters like that, and then we come back and grab a lighter version of that color.

So let's see, let's even go into this almost pure white here, maybe we'll tint it with some of our sienna and ochre.

Get a little more of that liquid white in there.

Make it nice and soft, a little drop of paint thinner with this.

Just get it nice and wet and we'll add a few light splatters in there as well.

Just come back and just flick, flick, flick.

I don't know what it is, but when you have both the light and the dark together, really, it really looks three dimensional.

It's kind of neat.

Something you need to try.

Plus it's just fun to get paint that wet and flick it off your knife so don't, don't miss out on an opportunity to do that.

Should never miss an opportunity to spray paint.

Gets real fun when we have a big class to do that and everybody sprays each other.

So we have a big time.

Anyway.

Get rid of that mess now.

[chuckles] Before it gets all over me, Spray each other, just don't spray, just don't spray it on me.

All right, let's mix up a little sap green, some Van Dyke brown, a little touch of the Prussian blue and a little touch of black too.

Just make sure that's nice and dark.

And let's have a little more fun here.

Let's take, this is sand dunes.

We'd likely have some sea oats on them, so I'm going to load up this brush just nice and full of that color, maybe get a little drop of thinner with this.

Whew, not much though.

I want to keep this paint reasonably thick but this will give us some help getting it off the brush and kind of further manipulating it.

And you'll see what I mean in just a second.

I'm going to take and just squash the corner the brush.

I hope you can see that.

Just squash the corner of that brush and bend it like that.

Bend it up, bend it upward.

And then I'm going to take the corner of the brush and pull some little sea grass out of there.

Like this.

Just pop it, pop it up, pop it straight up.

And if the wind's blowing, you can give it a little curve like that.

Same thing over here.

Okay, let's do a little more of that.

I've got to have some on the closer one as well.

Come over here and just again, just crunch, crunch, crunch.

Squash that, paint off your brush.

Bend it, bend it.

I'm trying to keep my hand out of the way and it's tough.

There you go.

There's bend that corner of the brush and then squash it up.

And a little tiny touch of paint thinner in there helps it, helps it sort of flip out like that.

Make all those little, make all those little grassy effects.

And it's all kind of blowing in the same direction.

If the wind's blowing strong enough, you want all your grass sort of in the same prevailing direction.

It looks a little strange if you've got some going this way and some going that way.

All right, now.

With that little base of dark in place, I'm going to come back with a liner brush that's been filled with several drops of paint thinner and the same color.

And I'm going to work this together into just a little slurry, just a little just a little soft ink like consistency pile of paint here.

And then we're going to come back and extend our grass up a little more.

Now, that might look, that might look scary to you if you have a fear of little tiny brushes and fine lines but it really needn't be.

And I'll tell you why.

As long as you have your paint soft enough to come off the brush, you can hold your brush way, way back on the handle and just, just barely touch the tip on there.

And then I'm just making a little motion, almost like an oval, but I'm only touching on one side.

And I'm, the, the engine of this motion is is really my elbow and my shoulder.

Not doing a whole lot with my hand.

My hand sort of gets locked in place.

So all you have to do is get that motion going with your, like I say, with your elbow or your shoulder, however you want to think of it.

And then you just kind of start easing in onto the canvas until you touch it.

And when you find the right size a line, that's where you stop.

You don't go in any further.

If you go in any further, they'll get a little bigger.

And it's not bad as long as you're getting closer.

But if you're trying to keep very fine lines, you want to keep them far, far away.

And I've found the distance from the canvas that seems to be working, that's given me a nice, sort of a nice, wispy line.

Sometimes I get real, [Nic makes "wwhhht" sound] they get real tall.

[chuckles] After you get brave with it, then you want to start showing off and see how high you can go [Nic makes "wwhhht" sound] way up there [Nic makes "pshoo" sound] with them like that.

It's so much fun.

So much fun painting these little paintings and it's fun painting these little paintings with you and sharing them with you.

I hope you, hope you have enjoyed being with us this series.

It's been a lot of fun for me too.

Take a little, little ochre and a little yellow.

A little touch of that, a little touch of that green, going for a lighter, lighter version here.

We'll just throw a few, ooh, I need a little liquid white in that, that would help.

Ah, there we go.

Liquid white's always the answer.

[chuckles] Yeah.

There we go.

Put a few lighter ones in the front so feels a little more, a little more three dimensional.

Like that.

Yeah.

There we go.

I knew they were in there.

They were hiding in there.

I'd find them.

And a lot of the sea oats have little... Look, if I take a little sienna and brown, a lot of these little sea oats have just literally little, little oats on them.

Looks like little pieces of wheat almost.

If I just take and kind of dot, dot, dot.

Add a few little dot dot dots on there.

[Nic makes "tch, tch, tch, tch" sounds] They don't all need the little pieces of wheat.

It'd sort of, sort of look contrived if we did it to every one of them.

But just pick out a few here that have, have some texture and detail on them.

Go back and find a little fan brush that's reasonably clean.

I can take some of my, some of my Van Dyke brown, a little bit of the black, just a tiny touch of paint.

And we'll kind of set these down into the painting just by pulling a little, pulling a little darker shadow out from the base here.

Like this.

Just pull a little bit of shadow down onto my dune.

Helps, help settle them into the painting just a little bit more.

Even a little behind these.

It's running uphill, though.

You have to remember your angles, decide which way they're working.

And we've got just a minute left.

So I tell you what, let's take, let's take a little more of that, a little more that dark green, some paint thinner.

I want to come in here and in the very, very front.

Now, like I said, we can get, we can get bigger ones as long as we're moving closer and we're getting more forward in the painting.

So I'm going to push a little harder here.

Makes some closer, make some closer little, [Nic makes "sssoo" sound] Maybe there's a big tall one there.

Sometimes they have little leaves that sort of wiggle off of them like that.

[Nic makes "tchoo, tchoo, sssoop" sounds] And on at least one or two of these, we need one of those, one of those little dots and I'm taking just sort of brown and a little, little white and we're going to make a little closer, [Nic makes "tchooka, tchooka, tchooka" sounds] a little more detailed sea oat right down here in the foreground.

Maybe one more right there.

Just kind of dot, dot, dot, dot, dot.

Take a little liquid white and yellow ochre.

These are probably close enough they'd have a little highlight on them.

[Nic makes "tchooka, tchooka, tchooka, tch, tch" sounds] Kind of like that.

Anyway, there's our little beach scene.

Hope you've enjoyed going to the beach with me and we'll see you next time.

Happy painting.

[Music] [announcer] To order Nicholas Hankins' 68 page book with 13 painting projects or his companion DVD set, call 1-800-BOB ROSS or visit BobRoss.com [music] [music]