UNKNOWN Season, Episode, Bill Explains the story of Magic White - AVAILABLE

Bill Alexander's

The Magic of Oil Painting

UNKNOWN Season, Episode, Bill Explains the story of Magic White - AVAILABLE

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So I will put the magic right.

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Arms are just, you see,

I do it very often.

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They don't put it on.

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I just put it on before the show.

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And then there was a little bit

argument sometime they say, why

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didn't you put the magic red on, I

put it on all the time without magic.

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Right?

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I don't know how the devil would work.

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Maybe I should explain it again.

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We paint and we never explain

why we do what we are doing.

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The, in the beginning, when I

start painting, I always start.

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You have to mix the

colors on your palette.

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Yeah, that's what it is, what you

learn in school or whatever common

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sense you put the Vite on here first.

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And then you put the colors you want

that gray or that particular Brown

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or, and you mix it on a pallet and

then you put it on your canvas.

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But by all the time,

mixing my paint, I learned.

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God, you put all this fight on because

you cannot make dark darker or blue,

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more blue or, or red more red, or you

see, even when you see the colors,

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yellow more gallery, you cannot, every

color needs white in order to mix it.

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And then had the brainstorm one day.

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I said, why not put that vibe right on

the canvas and mix on that on my canvas.

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I have seen that sometime on TV, but

it's good to repeat it sometime this,

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you know, the philosophy of this

wonderful technique, this technique

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I tell you, that's like sunshine.

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It is, uh, it makes it too easy to live.

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It makes it too easy to create

because you, you, you need dividedness

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obvious there, the, this technique

naturally is so different than.

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Then you ever have learned

in every school, any, I

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never have seen the scooter.

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What tells you put the Vite on?

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And then, uh, but Gucci, it was

obviously mixed on the pallet.

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So it, that's why this

technique is absolutely

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different than anyone before me.

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Okay, so let's make a interesting sky.

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Maybe nobody is simple.

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It is not what I painted as I would love

to see you learn the technique and get

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very familiar with, with your paint.

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You see my paint, I buy a paint,

but it's very, very, and strong.

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You see when, when, uh, I can

turn it around and the philosophy

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is again, It didn't have paint

rustic on the ticket pain.

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That means, but otherwise they

have to have a thicker paint.

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Otherwise I can do what I want.

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Beginning artists.

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What wants to paint vet and vet

vet and vet is a very dangerous

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because you, in the beginning, you

don't know what the paint means.

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You buy the paint, what you can just

get on the shelf, red brew green.

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And if it is a thin paint on the

thin paint, you are a mud maker.

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Most artists, when they start painting,

. Making mud and they wonder why the devil

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I make mud and you see me being so clean

because of the consistency of that paint.

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What I always buy.

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You see the paint I paint

on top of the paint.

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I don't paint into the paint D there's

a big, big, big, big, different,

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I should talk about the whole hour

sometime in order to convince you.

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This, there is a difference between this

technique and all the other techniques.

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See the other techniques.

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You let a dry go over, let the dry go

over and you can repeat it 10 times.

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And you're not the head.

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You are not better than what I do.

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That's the funny part you think, because

you've worked too much on that canvas,

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you know, you're taking, because they've

worked so much, it got to be better.

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It is not, you know, lightning

it, cause one, I said, and it has

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done the work and that's the same

creative power you cannot create in

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weeks and weeks and doodle around.

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And do you have something in your mind

and you want to unload it yesterday?

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I was unloaded anytime.

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And any means any means

how I can unload it.

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It's wonderful for me.

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You see, and I found a way to

enlarge it, you know, to, to

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make it happen in a short time.

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It's not what I show you here.

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When I started my paintings, they

are not this kind of a painting.

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Really.

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They are different.

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I have a bit more time.

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They give me 28 minutes here.

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I only wants to show you.

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It technique how, how to do it.

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But when you really get into

that, you spend a bit more time.

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And, uh, and sometimes I let it dry.

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Some something works better when it's

dry and you go over it again, certain

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highlights, you get to maybe a bit better.

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You see?

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And if you get it all together,

this way, you will cry and

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grow and you become the artist.

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You want to be a powerful artist.

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