Bill Alexander's
The Magic of Oil Painting
UNKNOWN Season, Episode, Cascade Meadow - AVAILABLE
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Look at this beautiful painting
we're going to be doing today.
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And what you're going to be seen is how
I used the magic white on the top and
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the Alexander Black medium on the bottom.
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And I came in and I created light,
which gave movement to my painting.
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Look at all those rolling Hills
we're going to be working on today.
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And you'll also be seeing the pull-up
the knife scene, the from paint,
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work up close and playing of color.
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We're going to have a good time.
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Okay.
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Now we'll do the same with
the black medium work and
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don't ever paint it on there.
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Work it in, be a tiger.
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Work it in there, work
it in a lot of pressure.
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One of the biggest things I can teach
you on this is if you ever get too
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much, what you need to do is you
need to clean and dry your brush
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and go back over and lifted off.
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Because if you get too much of
your magic, whether it's the magic
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white or the black medium, you'll
always be working in mud all day.
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It'll loosen your pain up too much.
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When you come back over with the paint
all the way up, all the way up til it
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reaches the white all the way up there.
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So that nice wet canvas.
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Okay.
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That's good.
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Now let's clean and dry.
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That brush.
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What I want you to do is I want
you to test this and learn to test
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it until you figure out how much
of the magic you put on there.
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I want you to come up in here.
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It's a finger test.
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Okay.
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I want you to go up here and I
want you to thump your canvas.
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Like, so.
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Use a different finger come down
in here and thump your canvas.
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Now, what you'll see is a
nice, shiny, wet fingerprint.
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Okay.
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And that's all you want on there.
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Like I say, if you ever get too
much clean and dry your brush and
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go back over and over now over
the, um, over the magic white.
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Okay.
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Let me give you a little bit
of my color arrangement here.
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I'm going to be using the titanium
white, the CAD yellow, the permanent
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red, the Elysium Crimson thalo blue
today, SAP green and some Vandyke Brown.
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And this year is my blue mix.
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Let me give you the
colors for my blue mix.
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I'll be using one part
of the Vandyke Brown.
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One half part of your theolo
blue and a pinch of SAP green.
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Okay.
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That's good.
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Now we're going to tint tint, the
magic white, and then we'll come
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down here and tense the black medium.
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Now, whenever I tint, I always pull my
paint away from the pile because when you
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come in here with your brush, you want to
just barely touch a little color in there.
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There is no pain on that brush just a
little bit, do not pick up any excess.
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I'm going to come up in here
and I'm going to use a lot of
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pressure, a lot of pressure.
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It's the pressure that makes it darker.
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And I'm also working some of
that magic white in there.
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And as I come down, it
lightens up like, so
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that could be in here.
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There you go.
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All of a sudden you have a nice
tin of color and look at the
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different values in there by
having that magic white underneath.
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Okay.
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Clean and dry that brush
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She got the excess come back in here.
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This is how you get that all mighty arm.
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Now let's do the same
with the black medium.
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Let's pick up some SAP green,
lotta pressure work it in.
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We're good in
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this is working good.
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Okay.
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Work it in a lot of pressure.
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Thin coat of paint on there.
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All you want to do is show a little color.
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Okay.
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Come up into here now.
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Let's at the same time,
pick up just a touch.
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Of your fellow blue and work at,
towards the middle, little towards
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the middle and kind of smooth
it into your green a little bit.
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You've been wanting to show a little
bit of a greenish blue down here.
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Okay.
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That's good.
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Okay.
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Clean and dry that brush again.
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Dry dry right now.
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I'm going to take, we're going
to put a, just a little bit of a
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accent of a cloud up in there today.
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We don't want to play too much
up in the sky cause we've got a
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lot of nice things to go in here.
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Let me teach you how
to load this fan brush.
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Now remember the Alexander fan
brush has very stiff bristles.
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And the paint is thick.
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So I'm look how I'm pulling it away
from the pile of paint, turn it over.
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And I load both sides.
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Okay.
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Come up in here.
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Now what you're going to see is that I'm
holding my brush, like, so I'm jabbing
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it in there so that the firmness of
that paint pulls itself off a little
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movement up in here, a little movement.
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Little movement, a little
wisp of a cloud over here.
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Little wisp of a cloud, a little something
up in there, little something up in there.
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Not much.
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Look at that.
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All in one load of the brush.
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Huh?
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Just get a little movement,
little movement backup in there.
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That's good.
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That's good.
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Yeah.
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Nice.
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That pulls off stiff bristles thick paint.
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Push it in there and go with it.
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And you got it.
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One load of the brush.
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Now I'm going to hypnotize.
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In other words, we're going to
soften it most down a little bit.
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Now, what I want to teach you about
hypnotizing hypnotizing is a light,
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light, light, light, light touch.
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So I come up in here with my
blending brush and I gently
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touch the cloud gently touch.
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Gently touch without no pressure,
no pressure, slow motion.
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So you can see that.
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Nice.
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Okay.
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No pressure, no pressure.
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Now, if I was to do this real
fast, it looked like I was
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applying a lot of pressure.
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And what I would do is
I would wipe it all off.
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Speed.
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The speed sometimes makes it look like
you're applying a lot of pressure.
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So when I.
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Take it down and do it a
little bit slower for you.
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You can see that just a few hairs are
touching the paint and blending it in.
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Good.
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Okay.
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Now we're going to put in some mountains
and I want you to take that blue mix.
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I had you get ahold of now.
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Let's take a little bit of that over
here to the side, and I'm going to
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add just a touch of my titanium white.
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I want to keep this paint thick.
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Little more Brown, little more Brown,
just a little bit lighter than that.
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See how I'm just work
in that paint in gently.
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I want to keep the texture there.
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Like, so now yeah.
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Let me teach you how
to load this guy again.
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I'm pulling my paint flat.
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On my pallet straight up the
straight upward position.
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What I'm doing is I'm slicing
a nice edge of pain in there.
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Can you see that?
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See how that firmness of that
paint lifts itself away from the
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blade of my knife, you're always
working from that lift of paint.
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Okay.
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Now I'm going to come up in here and
I'm going to apply a lot of pressure.
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And we're going to put in some
little peaks back up in here,
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little movements, lot of pressure.
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Notice how that, that paid is pretty
well pulling off the tip of that blade.
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Little something back up
in here, back down yen.
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Little Rocky mountains.
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That's all up in here.
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Pull it in, pull it over.
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Notice how I'm pulling this
knife towards this way.
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What you'll find is if you push that
knife either one direction or the
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other, so you ha let me do that slow.
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I'm pushing it over and look how it's
coming off of the edge up in round down.
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Okay, come up in here.
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Nice movement.
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Nice movement.
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Okay.
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A little something back up in there.
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Okay.
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Off the canvas.
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And then work that down a little bit more.
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Work it down a little bit.
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I'm also working it down and at
the same time, I'm lifting off any
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excess paid I might have there.
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Now, let me show you also, when
I lift the paint off, I'm not
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trying to lift it off like this.
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I almost take my knife to
the side and pull it off.
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And what you should be able to do is
take your knife and go all the way
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across here and not pick up any paint.
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You want a nice dry paint under there,
because when you come back in here and
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you hypnotize the bottom of that mountain,
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if you had a lot of pain here and pick up
a lot of that blue and it would get muddy.
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So.
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I'm going to take go one inch, one inch,
four inch brush, and look at slow motion.
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Just a few hairs are touching the,
the blue of that mountain and the
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rest is picking up with the magic
white and I kind of tap it in there.
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Now, if you give it a little pressure,
it bogs in like some kind of lays that.
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Mountain down in
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there you go.
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Little movement, a little Ms.
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Little fog, a little
more blue up in there.
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There we go.
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Okay.
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It's laying the mountain
down the mountain down.
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Okay.
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Now we're going to put in some highlights.
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Now what I want you to do is I want
to, I want you to take that same color.
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Same blue mix.
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And I want you to add just a
touch, more of your titanium wines,
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a little bit lighter shade.
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This will be for my shadow
side a little bit lighter.
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Okay.
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Again, pull your knife.
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Get that nice load of paint.
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Now, what you're going to be seeing is
that I come up in here and I hold my knife
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flat to the canvas, flat to the camera.
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Let me get that.
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Just a shade lighter,
just a shade lighter.
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Get that nice edge paint.
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Touch that edge of paint to the canvas.
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And gently pull it down in.
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I'll do this slow so you can sit.
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Knife is flat.
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The paint touches gently touches.
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And all I have to do is
guide it down the mountain.
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Excellent.
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A little more up in
here, a little something.
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Look at the brakes.
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Look at the brakes.
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And look at the breaks down in at
the same time, I'm going to take that
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same color and add some more white.
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It's almost easier to take some white
and add a little bit of that color.
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That way you don't make too much.
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So I'll take some titanium
white and a little bit of that
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blue come back up in here.
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On the sunny side,
can't do the same thing.
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Put a little bit of highlight up in here.
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Gently.
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Let it touch.
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Let the paint do the work.
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All I have to do is guide it down there.
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Look at that.
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Look at that.
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Good pull that paint.
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The firmness of that paint is so important
when you're working with his technique.
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That's why this knife is made.
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To go flat up to the canvas because the
knife knows it's the paint doing the work.
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So all it has to do is hold the paint and
let the artist move it down the mountain.
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No pressure, no pressure, no pressure.
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Move it in.
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Be gentle.
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you know, when I'm, whatever
it is, I'm painting.
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What I like to do is I'd
like to really get into it.
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It's like when I'm creating
mountains, I like to be there.
247
00:14:51,960 --> 00:14:55,939
I almost put myself up
there climbing my way down.
248
00:15:01,700 --> 00:15:04,820
You can get more creative
that way instead of.
249
00:15:05,355 --> 00:15:08,595
Standing here painting opinion
and trying to make it right.
250
00:15:09,285 --> 00:15:11,205
Which everything I do is perfect.
251
00:15:11,805 --> 00:15:13,005
And I already know that.
252
00:15:13,005 --> 00:15:17,315
So all I have to do is get
creative and enjoy what I do.
253
00:15:17,405 --> 00:15:18,845
Appreciate all that I do.
254
00:15:20,165 --> 00:15:20,225
Yeah.
255
00:15:20,255 --> 00:15:23,855
And when you paint this, you're not
going to get the paint, this particular
256
00:15:23,855 --> 00:15:25,775
paint to break right there for you.
257
00:15:26,165 --> 00:15:28,715
It might break down here or over here.
258
00:15:29,495 --> 00:15:30,065
So.
259
00:15:30,480 --> 00:15:34,740
Don't try to copy this, use
this as a sample and let your
260
00:15:34,740 --> 00:15:38,100
creative mind really get into it.
261
00:15:39,900 --> 00:15:42,480
Enjoy putting a color on here.
262
00:15:43,050 --> 00:15:44,190
Enjoy what you do.
263
00:15:46,920 --> 00:15:48,900
That's the key to painting.
264
00:15:51,330 --> 00:15:51,720
Okay.
265
00:15:51,720 --> 00:15:53,220
A little more highlight up in here.
266
00:15:54,030 --> 00:15:56,130
A little more highlights,
little more highlights.
267
00:15:58,110 --> 00:16:03,180
Look at that, working it down,
working it down, kind of more of a
268
00:16:03,180 --> 00:16:06,860
Rocky mountains today, a little more
269
00:16:10,910 --> 00:16:12,260
light charge.
270
00:16:12,290 --> 00:16:15,620
Let it slide way down there.
271
00:16:18,860 --> 00:16:24,530
Can you see the illusion happening in here
just by adding a dark paint underneath?
272
00:16:25,920 --> 00:16:29,130
A little bit of a shadow
color and some light.
273
00:16:29,160 --> 00:16:33,690
And all of a sudden you've got
depth almost three-dimensional
274
00:16:37,400 --> 00:16:40,580
bill spent many, many years
developing this technique.
275
00:16:41,180 --> 00:16:45,380
And what he did was he took
about 40 years experience and
276
00:16:45,380 --> 00:16:46,880
broke it down to common sense.
277
00:16:50,480 --> 00:16:54,230
Cause it it's common sense
that a thick paint would pull.
278
00:16:55,050 --> 00:16:57,030
Pull off and break like this.
279
00:16:57,449 --> 00:16:59,910
And when you're down in, through
here, a thinner paint will pull
280
00:16:59,910 --> 00:17:04,619
from a thicker paint smart guy.
281
00:17:06,000 --> 00:17:08,040
Should've had this around years ago.
282
00:17:08,040 --> 00:17:13,440
When I first started, I struggled,
I was always struggling.
283
00:17:14,730 --> 00:17:15,119
Okay.
284
00:17:15,119 --> 00:17:17,159
Let me put out a little
more of the whites.
285
00:17:22,500 --> 00:17:23,220
Nice.
286
00:17:23,685 --> 00:17:24,494
Good point.
287
00:17:28,535 --> 00:17:34,025
And I'm going to take some pressure or
some Failla blue today, and just a touch
288
00:17:34,025 --> 00:17:37,265
of Tayla blue in some of that thick white.
289
00:17:40,115 --> 00:17:43,025
And what this is for is a little
bit of sparkle on those mountains.
290
00:17:43,055 --> 00:17:46,055
We're going to give them a little
more sparkle, just in a few places.
291
00:17:46,475 --> 00:17:52,985
Again, I pull my pants
loaded up, come up in here.
292
00:17:53,325 --> 00:17:54,585
And a few places.
293
00:17:54,585 --> 00:18:00,285
I was touched just a little more sunlight,
a little more sunlight in a few places.
294
00:18:03,015 --> 00:18:04,305
This isn't necessary.
295
00:18:04,315 --> 00:18:07,305
This is just what I call
giving it a little TLC.
296
00:18:08,055 --> 00:18:12,015
You had your light and dark there
and it was great the way it is.
297
00:18:12,015 --> 00:18:17,025
I just want to give you a little
more work from you can put two,
298
00:18:17,035 --> 00:18:18,375
three colors on your mountains.
299
00:18:19,215 --> 00:18:21,585
Sometimes I'll even work in four colors.
300
00:18:25,020 --> 00:18:33,270
Down in down here, little sparkle, little
sparkle, sun's really clipping in there,
301
00:18:36,419 --> 00:18:40,070
back down and like, so, okay, great.
302
00:18:40,639 --> 00:18:45,590
Now what I want you to do
is to take that blue mix.
303
00:18:47,115 --> 00:18:49,605
The one we started with,
there is no white in this.
304
00:18:49,605 --> 00:18:51,345
Don't use the ones that
were used in the mountain.
305
00:18:51,825 --> 00:18:56,505
Once you take this mix and I want
you to add equal part of SAP green
306
00:18:56,505 --> 00:18:59,745
to it just about equal parts.
307
00:19:00,375 --> 00:19:05,285
You're looking for a dark
Mark, green, dark, dark green.
308
00:19:07,235 --> 00:19:12,665
If you just take the blue mix out a little
bit at the SAP green, you'll have it.
309
00:19:13,325 --> 00:19:13,925
Perfect.
310
00:19:15,600 --> 00:19:15,900
Look at that.
311
00:19:15,900 --> 00:19:18,870
Look how sick that pain
is, is so important.
312
00:19:20,130 --> 00:19:24,480
This is the whole key to the, to the
Alexander technique is right here.
313
00:19:25,200 --> 00:19:32,190
You have to have a thick paint to start
with because in certain places you're
314
00:19:32,190 --> 00:19:37,380
using two consistencies and without
the sick, you'll never get it to pull.
315
00:19:38,640 --> 00:19:40,920
Now, let me teach you how to load a brush.
316
00:19:42,120 --> 00:19:42,510
Okay.
317
00:19:43,185 --> 00:19:44,715
I don't just get it on the edge.
318
00:19:44,745 --> 00:19:46,755
I get it about halfway down.
319
00:19:47,055 --> 00:19:49,365
And I look at the pressure
I'm using on my palette.
320
00:19:49,965 --> 00:19:54,885
I'm working at about
halfway down into my brush.
321
00:19:55,085 --> 00:19:58,605
Lot of pressure working it
on the inside of that brush.
322
00:19:59,895 --> 00:20:00,165
Okay.
323
00:20:00,225 --> 00:20:00,825
A lot of pressure.
324
00:20:00,825 --> 00:20:01,575
Get it in there.
325
00:20:02,505 --> 00:20:03,405
It's gotta be in there.
326
00:20:03,415 --> 00:20:04,595
You won't get it the poor.
327
00:20:06,095 --> 00:20:06,635
Okay.
328
00:20:06,665 --> 00:20:07,685
Now let me see.
329
00:20:07,745 --> 00:20:07,955
Oh yeah.
330
00:20:07,985 --> 00:20:11,885
How to test that to see if you
got an up paint on the inside.
331
00:20:12,900 --> 00:20:16,020
I always know you have enough on
the outside, but I'm kind of worried
332
00:20:16,020 --> 00:20:17,250
about the inside of your brush.
333
00:20:17,400 --> 00:20:22,770
Let me show you here, pull it flat
on your palette and if it comes to a
334
00:20:22,770 --> 00:20:25,770
chiseled edge, you're perfect again.
335
00:20:26,250 --> 00:20:26,580
Okay.
336
00:20:26,910 --> 00:20:29,310
You need the paint on
the inside of your brush.
337
00:20:30,150 --> 00:20:30,720
Great.
338
00:20:30,780 --> 00:20:31,020
Okay.
339
00:20:31,190 --> 00:20:35,120
Now with that chiseled edge, I'm going
to come up in here and I'm going to
340
00:20:35,120 --> 00:20:36,650
put in some little rolling Hills.
341
00:20:39,780 --> 00:20:44,640
So I have all this dark here because
I had the black medium to work with.
342
00:20:45,570 --> 00:20:51,990
So up in here, I've got to just kind
of create a line that I can work
343
00:20:51,990 --> 00:20:54,570
from and bring it down into the dark.
344
00:20:56,790 --> 00:20:58,470
Notice how gentle that is.
345
00:20:58,770 --> 00:20:59,880
Let me do that slow.
346
00:20:59,970 --> 00:21:03,900
I lightly touch lightly touch,
lightly touch each time.
347
00:21:04,680 --> 00:21:08,040
I'm coming back off of the canvas.
348
00:21:08,070 --> 00:21:09,210
Let me show you that again.
349
00:21:09,810 --> 00:21:10,409
Light touch.
350
00:21:10,440 --> 00:21:12,570
Let the texture of that paint pull off.
351
00:21:14,010 --> 00:21:14,490
Okay.
352
00:21:14,730 --> 00:21:20,940
Now when I pick up a little bit of
speed, what happens is it looks like
353
00:21:21,240 --> 00:21:25,770
I'm putting a lot of pressure in
there and I'm not gentle, gentle,
354
00:21:25,800 --> 00:21:28,830
gentle, gentle, gentle, gentle.
355
00:21:30,419 --> 00:21:30,840
Okay.
356
00:21:32,235 --> 00:21:35,565
Now I'm going to add a little more
pressure, a little more pressure.
357
00:21:36,165 --> 00:21:37,335
Keep tipping that brush.
358
00:21:39,105 --> 00:21:39,495
There we go.
359
00:21:39,495 --> 00:21:41,024
Now we've got an outline of a Hill
360
00:21:45,065 --> 00:21:45,445
a little bit.
361
00:21:45,455 --> 00:21:47,315
Yeah, little bit higher on this side.
362
00:21:47,345 --> 00:21:50,915
Let's go up a little bit
higher right up in there.
363
00:21:52,445 --> 00:21:52,895
Okay.
364
00:21:52,955 --> 00:21:53,495
That's great.
365
00:21:53,975 --> 00:21:59,764
Now we do have the dark down here, but we
have to add just a little bit of pressure.
366
00:22:01,125 --> 00:22:05,955
Texture just to get a little bit of
something for the highlights to pull from.
367
00:22:06,525 --> 00:22:09,435
We don't have to create the dark,
but we do have to create a little
368
00:22:09,435 --> 00:22:17,235
texture before bill came out with this
black medium, I would have to have my
369
00:22:17,475 --> 00:22:21,735
students make all of this white dark in.
370
00:22:21,735 --> 00:22:23,325
It took forever.
371
00:22:25,875 --> 00:22:28,274
Which is one of the
advantages of this black.
372
00:22:28,665 --> 00:22:30,495
You already can have your dark there.
373
00:22:30,614 --> 00:22:33,495
You don't have to create the
dark, but you do have dad.
374
00:22:34,064 --> 00:22:37,905
Sometimes, sometimes you don't, but
this particular painting, you have
375
00:22:37,905 --> 00:22:43,834
to add just a little texture here and
there, come down in, down in that.
376
00:22:43,834 --> 00:22:46,504
Like, so yeah, that should be good.
377
00:22:47,584 --> 00:22:48,455
That should be good.
378
00:22:48,455 --> 00:22:49,564
Little over in here.
379
00:22:52,560 --> 00:22:52,980
Here we go.
380
00:22:53,280 --> 00:22:54,900
Now we're ready for some highlights.
381
00:22:55,830 --> 00:22:59,550
Now your highlights are
what makes the movement.
382
00:22:59,640 --> 00:23:01,080
We've created the dark.
383
00:23:01,530 --> 00:23:07,200
Now we're going to contain the dark by
adding lights, and I'm going to pick up
384
00:23:08,280 --> 00:23:12,600
some of my cadmium yellow in my brush.
385
00:23:13,770 --> 00:23:15,810
And I'm going to go back
over here into this green
386
00:23:19,379 --> 00:23:20,400
and I'm gonna make it.
387
00:23:22,560 --> 00:23:23,610
Kind of a lightish.
388
00:23:25,620 --> 00:23:29,940
I don't want real light, just a
little bit lighter than what's there.
389
00:23:30,300 --> 00:23:31,440
Now let me show you this.
390
00:23:32,130 --> 00:23:33,870
I've got that chiseled edge, right?
391
00:23:34,440 --> 00:23:37,590
You have to have enough paint in your
brush when you're doing highlights.
392
00:23:38,670 --> 00:23:41,910
Now the key to highlights is not here.
393
00:23:42,600 --> 00:23:50,399
It's down here, the magic white, and I dip
it in and again, About that much in there.
394
00:23:50,520 --> 00:23:58,860
Like, so, and I don't mix it in, I swirl
it in there just swirl a few times,
395
00:23:58,860 --> 00:24:04,700
just to loosen that paint just enough
to pull from the thick paint underneath.
396
00:24:05,180 --> 00:24:07,850
Now, this is kind of a shadow highlight.
397
00:24:09,020 --> 00:24:13,310
I don't want it to light because
it's my shadow highlight.
398
00:24:13,310 --> 00:24:15,379
And I add a little bit
of this here and there.
399
00:24:18,675 --> 00:24:23,595
Here and there, just to give, I'm going
to put about two, two or three shades
400
00:24:23,595 --> 00:24:30,524
in here, different colors, but even your
shadow, a lot of times we'll show light.
401
00:24:31,815 --> 00:24:37,575
So I do put it in there a little,
little more, a little more backup
402
00:24:37,575 --> 00:24:42,165
in here, back down in here a
little more back down in here.
403
00:24:46,004 --> 00:24:46,814
You can start.
404
00:24:46,814 --> 00:24:50,175
You're starting to see a
little movement, a little more
405
00:24:50,175 --> 00:24:51,735
movement, a little more movement.
406
00:24:53,024 --> 00:24:58,725
You can create the movement just by
adding light, just by adding light
407
00:25:03,945 --> 00:25:06,495
little, loosen that up
just a little bit more.
408
00:25:08,565 --> 00:25:12,675
One thing to tell when you're working
on this, if it, if this didn't pull
409
00:25:12,675 --> 00:25:20,595
off, you would have to go back, add
just a little bit more magic, white
410
00:25:20,595 --> 00:25:25,725
to loosen it up enough, but see how
nicely that's pulling off so that I
411
00:25:25,725 --> 00:25:31,545
know I have the right amount of the
magic white in there, but if I came up
412
00:25:31,545 --> 00:25:35,205
hidden here and did this and it wouldn't
pull off, that means I need to finish
413
00:25:35,235 --> 00:25:37,665
just a hair more, a little bit more.
414
00:25:38,205 --> 00:25:39,584
A little more movement up in here.
415
00:25:40,844 --> 00:25:45,284
Just give it a little
more back up in there.
416
00:25:46,034 --> 00:25:51,074
Then we're coming in with some bright
highlights, a little rolling Hills going
417
00:25:51,074 --> 00:25:53,774
every which way, moving in, moving out.
418
00:25:58,004 --> 00:25:59,745
Be nice to be running through those Hills.
419
00:26:00,165 --> 00:26:04,274
Nice warm day back down in through here.
420
00:26:09,950 --> 00:26:10,610
there we go.
421
00:26:10,669 --> 00:26:14,750
Now we're going to do the same thing
by adding a little bit lighter.
422
00:26:15,350 --> 00:26:21,980
And this time I'm going to pick up
with a clean, dry brush, some of my
423
00:26:21,980 --> 00:26:27,429
CAD yellow and just a touch of my
SAP green and marble it in there.
424
00:26:27,560 --> 00:26:29,450
Pretty well mixed with my
brush most of the time.
425
00:26:32,480 --> 00:26:32,929
Okay.
426
00:26:33,570 --> 00:26:34,590
Got a lighter shade.
427
00:26:35,070 --> 00:26:36,900
Now come down to the magic.
428
00:26:36,930 --> 00:26:40,830
White, loosened it up a
little bit here and there.
429
00:26:40,920 --> 00:26:44,850
Just run it through just still loose,
but I still have that chiseled edge.
430
00:26:46,110 --> 00:26:47,040
Now come up in here.
431
00:26:47,040 --> 00:26:53,970
Light touch light judge, look at
how nicely that pulls off for me.
432
00:26:55,980 --> 00:26:57,600
Nicely, that pulls off for me.
433
00:26:59,850 --> 00:27:01,590
This is where you can really see.
434
00:27:02,310 --> 00:27:05,010
The thin pulls off the thick.
435
00:27:05,880 --> 00:27:11,430
Remember I was saying you have
to have a thick paint in order
436
00:27:11,430 --> 00:27:13,770
to get a thinner paint to stick.
437
00:27:14,160 --> 00:27:21,570
Well, look kind nice that just grabs on
and pulls the looseness of that paint off
438
00:27:25,130 --> 00:27:26,840
a little more sunlight up in here.
439
00:27:26,840 --> 00:27:28,910
You can see it happen and back down.
440
00:27:28,910 --> 00:27:29,210
Yeah.
441
00:27:30,115 --> 00:27:31,785
Little rolling little heels.
442
00:27:32,835 --> 00:27:36,915
You can keep turning that brush if
you want to, too, because that paint
443
00:27:36,915 --> 00:27:39,345
will work itself to the other side.
444
00:27:40,065 --> 00:27:45,485
Also notice no pressure,
no problems, no pressure.
445
00:27:48,065 --> 00:27:51,245
Just lightly touching each time
I'm coming off of the canvas.
446
00:27:52,595 --> 00:27:54,245
I'm not painting a painting.
447
00:27:54,395 --> 00:27:58,025
I'm letting the paint present a painting.
448
00:27:59,205 --> 00:28:06,764
So, all I need to know is how
much paint put in my brush, how
449
00:28:06,764 --> 00:28:11,685
to hold the tool, how to hold the
brush and the amount of pressure.
450
00:28:12,824 --> 00:28:17,175
And when you learn those things from me,
what you'll see is you have a lot easier
451
00:28:17,175 --> 00:28:22,485
time with this because a lot of the keys
are just what I'm teaching you here today.
452
00:28:25,520 --> 00:28:26,300
No pressure.
453
00:28:26,629 --> 00:28:28,159
Lightly touched lightly touch.
454
00:28:28,790 --> 00:28:29,540
Look at the movement.
455
00:28:29,540 --> 00:28:30,620
I'm starting to get, huh?
456
00:28:31,490 --> 00:28:35,179
Back up in here and say, you get it.
457
00:28:35,190 --> 00:28:35,810
Let me show you.
458
00:28:35,840 --> 00:28:37,610
So you get a line here like this.
459
00:28:38,720 --> 00:28:39,950
So you get a line there like that.
460
00:28:40,370 --> 00:28:44,450
And you liked the top of that line, but
you don't like the bottom gently work
461
00:28:44,450 --> 00:28:47,210
it out, work it down in, work it down.
462
00:28:47,210 --> 00:28:47,389
Yeah.
463
00:28:48,770 --> 00:28:49,520
Work it down in.
464
00:28:51,255 --> 00:28:54,015
It's almost like hypnotizing
the bottom of a Hill.
465
00:28:55,695 --> 00:28:56,385
Okay.
466
00:28:56,535 --> 00:29:01,785
A little more sunlight
clipping down in through here
467
00:29:05,115 --> 00:29:06,015
a little more.
468
00:29:07,875 --> 00:29:08,205
Okay.
469
00:29:08,205 --> 00:29:10,005
I need to loosen that just a little more.
470
00:29:10,665 --> 00:29:16,395
Work it in work at hand and
a little bit up in here.
471
00:29:20,730 --> 00:29:22,230
Back up in through here.
472
00:29:24,270 --> 00:29:24,930
See that line.
473
00:29:25,110 --> 00:29:27,330
I just kinda work it into the dark.
474
00:29:28,560 --> 00:29:34,110
There are no mistakes when
you paint, everything is right
475
00:29:38,760 --> 00:29:39,780
and everything you can eat.
476
00:29:39,840 --> 00:29:41,130
Everything is correctable.
477
00:29:42,300 --> 00:29:43,500
Everything is correctable.
478
00:29:44,730 --> 00:29:48,570
If I don't like something like I have
put in there, I just take it out.
479
00:29:48,899 --> 00:29:49,350
Like, so
480
00:29:52,409 --> 00:29:59,280
work it in, park it in a little more
movement up in there and back up, down
481
00:29:59,280 --> 00:30:07,110
in through there now, all that dark we
had in there makes a little more sense.
482
00:30:07,110 --> 00:30:07,440
Now.
483
00:30:08,429 --> 00:30:10,190
Now we're going to do that one more time.
484
00:30:10,280 --> 00:30:12,139
Just in a few places I want to take.
485
00:30:13,185 --> 00:30:17,685
Just a sparkle color, clean dry brush.
486
00:30:19,305 --> 00:30:25,995
Take pretty much, uh, your CAD yellow.
487
00:30:25,995 --> 00:30:32,895
And just to touch that green, loosen
it up, just a hair with the magic.
488
00:30:33,254 --> 00:30:37,485
And in a few places, I want to show
a little more movement of light.
489
00:30:39,495 --> 00:30:41,264
It brings a little more
interest to the eye.
490
00:30:42,525 --> 00:30:44,535
Here and there a little more
right up in here, you can really
491
00:30:44,535 --> 00:30:45,915
see the sun clipping in here.
492
00:30:46,905 --> 00:30:50,625
So we're going to play
that up, kind of play it up
493
00:30:53,835 --> 00:30:54,885
and it's great.
494
00:30:55,785 --> 00:31:00,945
I, you know, the first time I seen bill
my mouth dropped open because I was a
495
00:31:00,945 --> 00:31:06,345
struggling artist and here was a guy
that was doing a lot of things that I
496
00:31:06,345 --> 00:31:10,215
was doing, except for, I was doing it
with all those tiny little brushes and.
497
00:31:11,220 --> 00:31:12,270
Tiny little knives.
498
00:31:12,270 --> 00:31:17,700
And he picked up this big, big guy
and started painting, painting, and
499
00:31:18,210 --> 00:31:19,950
it was getting the same things I was.
500
00:31:19,950 --> 00:31:27,300
And I, so I, I knew that the guy had
something somewhere going for him.
501
00:31:27,690 --> 00:31:35,399
And I had the chance to work with
bill and to work with his technique.
502
00:31:35,399 --> 00:31:38,970
And I've been out teaching
for several years for him.
503
00:31:40,245 --> 00:31:42,675
A lot of different places
throughout the United States.
504
00:31:43,515 --> 00:31:50,505
And what is so nice for me is to
teach people these, these keys
505
00:31:50,505 --> 00:31:55,275
that I'm teaching you here today
so that they can paint a painting.
506
00:31:55,845 --> 00:32:02,055
So they have the ability to go out and
create something they've always wanted to.
507
00:32:03,435 --> 00:32:05,055
I've always said there's only two things.
508
00:32:05,055 --> 00:32:06,015
You need to be an artist.
509
00:32:07,155 --> 00:32:10,335
And one is desire and the
other one is imagination.
510
00:32:12,225 --> 00:32:16,755
And if you just said you didn't have
imagination, what you did was you imagined
511
00:32:16,755 --> 00:32:18,465
yourself not having an imagination.
512
00:32:19,305 --> 00:32:20,535
So you're pretty well.
513
00:32:23,025 --> 00:32:24,525
You have the desire to paint.
514
00:32:25,365 --> 00:32:26,955
You can, Dan, you will.
515
00:32:28,965 --> 00:32:29,355
Okay.
516
00:32:29,355 --> 00:32:34,515
A little more movement alive, you know,
like I say, whenever I'm somewhere I'm.
517
00:32:35,355 --> 00:32:37,005
I'm into these rolling Hills.
518
00:32:38,085 --> 00:32:40,665
I need to roll myself
off here and get busy.
519
00:32:42,035 --> 00:32:42,515
Okay.
520
00:32:43,985 --> 00:32:44,555
Let's do that.
521
00:32:44,715 --> 00:32:45,395
See the movement.
522
00:32:45,425 --> 00:32:46,895
Look at the light clipping through there.
523
00:32:47,765 --> 00:32:48,365
Nice.
524
00:32:48,655 --> 00:32:51,905
Okay, let me get you going all.
525
00:32:51,905 --> 00:32:53,225
Quit playing around up here.
526
00:32:53,975 --> 00:32:58,415
Now, what I want you to do is I
want to take some of that dark
527
00:32:58,415 --> 00:33:00,635
color again, load the brush.
528
00:33:04,530 --> 00:33:05,940
Get that nice chiseled.
529
00:33:05,940 --> 00:33:12,360
And, and I'm going to come up in here
and I'm just want the, a hint of some
530
00:33:12,360 --> 00:33:17,520
little fir trees back up in here,
but a couple of lines have been here.
531
00:33:19,530 --> 00:33:20,910
Ooh, a couple of lines.
532
00:33:21,810 --> 00:33:25,680
Now what I do when I paint a fruit
tree with the one inch brush, you can
533
00:33:25,680 --> 00:33:31,170
do this with the fan or the one inch
I take just the corner of that brush.
534
00:33:32,354 --> 00:33:37,905
And I gently touch the paint to it
so that the paint will pull off for
535
00:33:37,905 --> 00:33:45,314
me, creates the illusion of a fruit
tree, just the corner of that brush.
536
00:33:45,344 --> 00:33:49,004
Just the point, not using the whole brush.
537
00:33:49,425 --> 00:33:52,485
Otherwise I'd have a great big tree.
538
00:33:53,985 --> 00:33:56,465
Just the corner lightly touched.
539
00:33:56,465 --> 00:33:58,125
Let the thick pull off the thin.
540
00:33:59,415 --> 00:34:00,405
Let's put another one.
541
00:34:01,544 --> 00:34:05,324
Up in here, right up in there.
542
00:34:05,925 --> 00:34:12,795
Take the corner illusion of a, for
a tree illusion of refrigerator.
543
00:34:16,215 --> 00:34:17,525
Do the same thing over here.
544
00:34:17,645 --> 00:34:19,505
When I bring something
right up in here, your
545
00:34:23,315 --> 00:34:27,755
corner of the brush, a little
movement, you don't really
546
00:34:27,755 --> 00:34:29,315
want too much detail on these.
547
00:34:29,344 --> 00:34:30,384
You just want to show that.
548
00:34:30,570 --> 00:34:33,120
Something might be working
its way back up in there.
549
00:34:34,470 --> 00:34:35,220
Light touch.
550
00:34:35,250 --> 00:34:36,659
Let it pull, let it pull that ball.
551
00:34:39,180 --> 00:34:44,280
And maybe a couple more right up in
here, maybe something right up in there.
552
00:34:44,380 --> 00:34:45,230
Give it a little line.
553
00:34:45,260 --> 00:34:49,400
Give yourself a line to go by first,
especially when you're first beginning.
554
00:34:50,780 --> 00:34:52,520
Sometimes you'll give yourself the idea.
555
00:34:52,580 --> 00:34:53,060
Yeah.
556
00:34:54,020 --> 00:34:57,620
Rather than a startup in here
and try to figure it out.
557
00:34:57,680 --> 00:34:59,535
Go ahead and give yourself the idea first.
558
00:35:00,435 --> 00:35:07,065
Back up in here and come down
into the shadow, down into shadow.
559
00:35:08,145 --> 00:35:16,504
Now let's take, and we're going to take
that brush and loaded again, this time
560
00:35:16,504 --> 00:35:18,335
I'm going to knock off the point of that.
561
00:35:18,515 --> 00:35:19,774
I want to round this off,
562
00:35:23,194 --> 00:35:27,065
like, so you want a rounded edge
and look at all the pain in there.
563
00:35:27,925 --> 00:35:28,905
It's going to come up in here.
564
00:35:29,085 --> 00:35:33,495
I'm to add just, just a touch
of texture back up in here.
565
00:35:33,555 --> 00:35:37,665
We're going to put some little hole,
little bushes or little trees or, or
566
00:35:37,665 --> 00:35:43,145
whatever, but we're going to play some
color back up in, through here a little
567
00:35:43,145 --> 00:35:49,655
bit back up over in here, a little more
texture, a little more texture, a little
568
00:35:49,655 --> 00:35:51,635
more texture back down in through here.
569
00:35:59,549 --> 00:36:01,380
Okay, one more texture.
570
00:36:02,339 --> 00:36:02,940
Okay.
571
00:36:03,000 --> 00:36:04,950
Now we've got something to work from.
572
00:36:05,370 --> 00:36:05,910
Now.
573
00:36:06,630 --> 00:36:10,410
What I want you to do is take a
little bit of that thick white, and
574
00:36:10,410 --> 00:36:16,200
we're going to give just a hint or
some water moving back out in through
575
00:36:16,200 --> 00:36:22,319
here, just to hand some water play.
576
00:36:23,549 --> 00:36:24,690
Wouldn't be too light.
577
00:36:24,839 --> 00:36:25,080
Okay.
578
00:36:25,140 --> 00:36:26,190
Light touch.
579
00:36:26,460 --> 00:36:29,600
Let the firmness of that paint pull off
580
00:36:32,870 --> 00:36:33,980
at the same time.
581
00:36:34,009 --> 00:36:36,020
I'll give a little movement
down in, through here
582
00:36:39,560 --> 00:36:43,609
to play, play from the,
got the dark there.
583
00:36:43,609 --> 00:36:45,740
And all we have to do is create
some light, a little more
584
00:36:45,740 --> 00:36:49,549
movement back over in, through
here, back over in through here.
585
00:36:50,690 --> 00:36:51,830
We'll finish this off.
586
00:36:52,800 --> 00:36:56,280
Later when we fit after we'd done this,
but you need to have something down
587
00:36:56,280 --> 00:36:59,130
here to give you an idea of what we're
going to be doing there in the middle.
588
00:37:00,060 --> 00:37:02,730
And I will usually do that
first and then work around that.
589
00:37:04,050 --> 00:37:06,810
Now I want you to take a clean dry brush.
590
00:37:07,140 --> 00:37:08,700
Let me get a brush cream here.
591
00:37:09,630 --> 00:37:13,500
You noticed I'm using more
than one of these little guys.
592
00:37:14,835 --> 00:37:21,305
It saves on paint, but I don't have to
read it this brush each time I pick up
593
00:37:21,305 --> 00:37:26,345
a new color and also saves on some time
I'm going to take some of the yellow add
594
00:37:26,345 --> 00:37:29,225
just a touch of my permanent red in there.
595
00:37:29,645 --> 00:37:32,285
Like, so, and again, let
me show you highlights.
596
00:37:33,545 --> 00:37:34,955
See how much pain I have in there.
597
00:37:35,765 --> 00:37:37,835
Always important to have
that much pain in there.
598
00:37:38,105 --> 00:37:38,904
Can you see that?
599
00:37:38,945 --> 00:37:39,845
Just in the tip?
600
00:37:41,375 --> 00:37:41,735
Okay.
601
00:37:41,735 --> 00:37:43,295
Come back in here into the magic.
602
00:37:44,790 --> 00:37:46,620
Loosen it up just a little bit.
603
00:37:48,510 --> 00:37:48,900
Okay.
604
00:37:48,930 --> 00:37:53,430
Come back up in here and we're going to
get some movement of light up in here.
605
00:37:54,300 --> 00:38:00,960
Movement of light come down into shadow
down into, shall I take that same
606
00:38:00,960 --> 00:38:05,790
color in it, then it download bits.
607
00:38:07,110 --> 00:38:07,620
Nice.
608
00:38:07,620 --> 00:38:08,580
Moving a color.
609
00:38:08,790 --> 00:38:09,660
Sets those little.
610
00:38:11,970 --> 00:38:16,410
For trays back up in there a little
bit more come down in, down into
611
00:38:16,410 --> 00:38:18,620
shadow, sit down into shadow.
612
00:38:18,620 --> 00:38:19,669
It's you're I'm all.
613
00:38:19,700 --> 00:38:22,819
I'm starting to lose some of
the pain in my brush, but I'm
614
00:38:22,819 --> 00:38:25,580
also lightening up on my touch.
615
00:38:26,720 --> 00:38:28,129
Little something up in here.
616
00:38:28,250 --> 00:38:30,080
Look how light, how look, how gentle I am.
617
00:38:30,169 --> 00:38:31,669
Look at the light touch I use.
618
00:38:32,810 --> 00:38:34,339
I'm not pushing it in there.
619
00:38:35,330 --> 00:38:36,439
I'm letting the pink grab.
620
00:38:36,439 --> 00:38:36,859
Hold.
621
00:38:38,970 --> 00:38:39,990
And do the work for me.
622
00:38:42,109 --> 00:38:46,200
Get in there a little more of
that color right up in here,
623
00:38:49,140 --> 00:38:50,279
back down in through here.
624
00:38:52,350 --> 00:38:55,080
Like, so no, let's pick another color.
625
00:38:55,140 --> 00:38:57,210
I'm going to take that light
green that we've used here.
626
00:38:58,140 --> 00:38:59,910
Add a little more PSAP to that.
627
00:39:02,970 --> 00:39:06,180
Pick up somebody magic, tap
it in there a few times.
628
00:39:07,259 --> 00:39:08,190
Play it in there.
629
00:39:08,520 --> 00:39:10,080
Play it down in there.
630
00:39:10,589 --> 00:39:11,669
Look at the sun.
631
00:39:11,669 --> 00:39:12,629
Clipping in there.
632
00:39:13,529 --> 00:39:15,390
Lightly touched down into shadow.
633
00:39:21,379 --> 00:39:25,520
you notice how I keep mixing from
one college to the other, learn
634
00:39:25,520 --> 00:39:27,350
to play your colors like that.
635
00:39:27,620 --> 00:39:31,009
Don't demand that you have to
have this particular color.
636
00:39:33,210 --> 00:39:37,049
Cause then you can get all kinds of
different things working for you a
637
00:39:37,049 --> 00:39:38,660
little more backup in three here.
638
00:39:39,830 --> 00:39:40,100
Yeah.
639
00:39:40,100 --> 00:39:45,920
And I just shadow down into shadow,
little something up in here.
640
00:39:46,910 --> 00:39:48,890
Light touch, be gentle.
641
00:39:49,610 --> 00:39:51,110
Look at that slow motion.
642
00:39:51,140 --> 00:39:52,310
Look how gentle I am.
643
00:39:53,600 --> 00:39:55,279
Number when I play a lot of.
644
00:39:56,575 --> 00:39:57,825
I'm hurried for time.
645
00:39:57,854 --> 00:39:58,964
I have to do it fast.
646
00:39:58,964 --> 00:40:01,245
The faster I do it, the more
pressure looks like I have.
647
00:40:03,944 --> 00:40:09,915
It's take a little bit, it's, uh, like a
clean, dry brush and pick up a little bit
648
00:40:09,915 --> 00:40:13,245
of that blue and tap it into the Elysium.
649
00:40:14,504 --> 00:40:17,415
Gotta make a bluish bluish red color here.
650
00:40:22,525 --> 00:40:31,215
And pick up a summit, the magic, tap it in
there a little bit and play in some purple
651
00:40:31,215 --> 00:40:34,305
or lavender little color up in there.
652
00:40:35,625 --> 00:40:36,915
A little bit lighter out there.
653
00:40:38,295 --> 00:40:43,695
Red and blue makes what right.
654
00:40:43,755 --> 00:40:44,325
Purple.
655
00:40:45,765 --> 00:40:50,025
Look at the different shades,
you can get different shades,
656
00:40:51,805 --> 00:40:53,265
little something up in here.
657
00:40:54,315 --> 00:40:58,575
I can get those different shades,
but I never mixing my, but never
658
00:40:58,575 --> 00:41:02,865
mixing my highlights together.
659
00:41:04,125 --> 00:41:09,195
If I learned to mix my color on
my brush, I'm picking up all kinds
660
00:41:09,195 --> 00:41:11,655
of stuff, all kinds of color.
661
00:41:14,985 --> 00:41:20,835
Back down in like, so it took a little
bit of a darker shit, but right back
662
00:41:20,835 --> 00:41:23,745
up in here, just play some color.
663
00:41:24,345 --> 00:41:24,525
Okay.
664
00:41:24,525 --> 00:41:24,825
Let's do it.
665
00:41:25,955 --> 00:41:28,805
It's just a splash of this rare.
666
00:41:28,835 --> 00:41:29,705
That would look nice.
667
00:41:30,065 --> 00:41:31,385
We've got a lot of color play.
668
00:41:31,955 --> 00:41:33,155
I love to play color.
669
00:41:35,405 --> 00:41:39,725
Oh, pick up some of your
permanent red in your brush.
670
00:41:40,365 --> 00:41:46,275
Now when I want a straight red,
I don't thin it with the magic.
671
00:41:46,455 --> 00:41:51,015
I take just a little bit of the, uh,
Alexander odorless, paint, thinner, tap
672
00:41:51,015 --> 00:41:53,025
it in there a few times to loosen it up.
673
00:41:53,985 --> 00:42:01,635
And, and I really don't like doing that
as well as I do put it, put it into the
674
00:42:02,175 --> 00:42:05,145
magic because when I use magic in my.
675
00:42:05,895 --> 00:42:07,815
Brush and mix it with that.
676
00:42:08,174 --> 00:42:13,515
I'm getting different colors, different
value happening in each one of
677
00:42:13,515 --> 00:42:15,615
these shows different colors in it.
678
00:42:16,365 --> 00:42:19,005
When you're working with just a
straight color like this, that's
679
00:42:19,005 --> 00:42:20,205
exactly what you're getting.
680
00:42:21,035 --> 00:42:27,365
He has a straight color, but when I want
to read, if I did mix the white with
681
00:42:27,365 --> 00:42:33,634
it, I would give it more of a pink and
I wanted more of a red today and splash.
682
00:42:35,339 --> 00:42:36,660
Just a splash of color.
683
00:42:37,500 --> 00:42:38,040
Okay.
684
00:42:38,040 --> 00:42:43,140
Now finish those off by, Ooh,
need a clean paper towel.
685
00:42:44,990 --> 00:42:50,270
Finish those off by taking
some of the magic white.
686
00:42:50,270 --> 00:42:53,299
And let's take maybe just
to touch that orange.
687
00:42:54,109 --> 00:42:57,589
What you're looking for, these are going
to be tree tree lines, tree trunks.
688
00:42:58,100 --> 00:43:01,100
You're looking for a loose
paint and a touching.
689
00:43:01,129 --> 00:43:02,330
Any color you want to use.
690
00:43:03,495 --> 00:43:04,905
But it needs to be a loose paint.
691
00:43:04,905 --> 00:43:12,045
And what I do is I come straight on,
slide it through my, my paint just a
692
00:43:12,045 --> 00:43:19,445
couple of times come up in here and I
apply a lot of pressure, lot of pressure
693
00:43:20,195 --> 00:43:23,885
to get the paint, to pull off and all
that the sudden those little guys are
694
00:43:23,885 --> 00:43:29,405
growing from got little things happening
in there, little things happening.
695
00:43:36,605 --> 00:43:38,944
And I was put more than
what you would see.
696
00:43:38,944 --> 00:43:43,174
In other words, I don't have one
Bush here and put one line and one
697
00:43:43,174 --> 00:43:46,595
here and one there, I get some more
things moving back and you can see
698
00:43:46,595 --> 00:43:49,055
things happening in and out of there.
699
00:43:52,464 --> 00:43:53,525
Lot of pressure.
700
00:43:55,130 --> 00:43:56,550
Use a lot of pressure.
701
00:43:57,780 --> 00:44:03,300
So you can get that paint to pull off
of your knife and what you can't see
702
00:44:03,360 --> 00:44:08,250
from back there is most of the time I'm
using this part of the blade, unless I
703
00:44:08,250 --> 00:44:10,320
want a long line, I use the whole blade.
704
00:44:10,530 --> 00:44:14,850
If I want short lines like this, I use
just this part of the blade right here.
705
00:44:20,285 --> 00:44:23,945
Or you can use this little short guy
over here, which would do the same thing.
706
00:44:23,945 --> 00:44:24,785
Let me use that.
707
00:44:26,765 --> 00:44:27,545
Oh, okay.
708
00:44:30,365 --> 00:44:31,625
A little up in there.
709
00:44:31,955 --> 00:44:34,715
I want a bigger one up in here spring.
710
00:44:34,715 --> 00:44:37,085
A nice big something growing up in there.
711
00:44:38,705 --> 00:44:39,515
A little more.
712
00:44:39,900 --> 00:44:40,950
Movement up in here.
713
00:44:41,970 --> 00:44:42,420
Okay.
714
00:44:42,420 --> 00:44:47,480
Now I'm going to take and make a
little bit of rock and we're going
715
00:44:47,480 --> 00:44:52,850
to take some Vandyke Brown and a
little bit of that, a little blue.
716
00:44:54,830 --> 00:44:57,589
If you still have some of that
mix left, go ahead and use that.
717
00:44:58,910 --> 00:44:59,360
Okay.
718
00:44:59,480 --> 00:45:04,940
Remember load that knife and
we're going to come up in here.
719
00:45:05,569 --> 00:45:07,310
We're going to play in
some of those rocks.
720
00:45:08,715 --> 00:45:13,845
To kind of lay that down in there a little
bit, little rock up in there, coming back
721
00:45:13,845 --> 00:45:17,415
from behind, coming back from behind,
722
00:45:20,895 --> 00:45:24,285
back, down in, down into the water.
723
00:45:24,645 --> 00:45:33,465
Like, so like, so now let's chick
move that back over in through here.
724
00:45:34,425 --> 00:45:36,675
Like some now take that same color.
725
00:45:37,365 --> 00:45:41,805
Add, just a touch of my titanium wise.
726
00:45:43,275 --> 00:45:48,525
Again, I'm going to be doing about
three different values on there.
727
00:45:49,605 --> 00:45:51,285
Dark, medium and light.
728
00:45:54,335 --> 00:45:54,995
Come back in here.
729
00:45:54,995 --> 00:45:56,975
Look how gently I lay that in there.
730
00:45:57,335 --> 00:45:58,535
Gently lay it in there.
731
00:45:59,195 --> 00:46:00,605
It's just like the mountains.
732
00:46:00,665 --> 00:46:03,335
You get that load of paint on your knife.
733
00:46:04,115 --> 00:46:05,915
You let the paint touch the canvas.
734
00:46:07,590 --> 00:46:11,430
And you let it pull off a
little bit lighter shade
735
00:46:18,030 --> 00:46:23,070
and give it a little highlight, a
little highlight, little, maybe a
736
00:46:23,070 --> 00:46:24,900
little guy coming up in there, out in
737
00:46:28,740 --> 00:46:35,100
the more back, up into, through
there, back down in over.
738
00:46:36,029 --> 00:46:41,009
Down into shadow and
just a couple of places.
739
00:46:41,009 --> 00:46:45,890
We want a little more sparkle, a
little bit clip of light there.
740
00:46:45,890 --> 00:46:46,310
Look at that.
741
00:46:46,670 --> 00:46:47,750
Look at the pull of that.
742
00:46:47,750 --> 00:46:50,629
Paint, the pool of that paint.
743
00:46:50,660 --> 00:46:52,370
No pressure knife.
744
00:46:53,000 --> 00:46:56,270
I know I keep repeating that, but
the more you hear me nag at you,
745
00:46:57,049 --> 00:46:59,660
the more you'll understand no print.
746
00:46:59,660 --> 00:47:00,140
Look at that knife.
747
00:47:00,140 --> 00:47:01,549
Someone's falling out of my hand.
748
00:47:02,509 --> 00:47:03,830
Now let's finish off.
749
00:47:05,160 --> 00:47:10,650
This up in here, let's take and,
um, just a little bit of that color
750
00:47:10,710 --> 00:47:18,200
and come back in here and bring this
little Bush right over that rock.
751
00:47:18,200 --> 00:47:19,040
Kind of lay it back.
752
00:47:19,070 --> 00:47:20,120
So it's back in there.
753
00:47:21,350 --> 00:47:21,860
That's good.
754
00:47:22,070 --> 00:47:22,250
Yes.
755
00:47:22,430 --> 00:47:23,120
Pulling in there.
756
00:47:24,140 --> 00:47:28,190
Now we're going to pick up a little
bit of that dark green, the shadow
757
00:47:28,190 --> 00:47:33,320
color again, and I want to add just
a little more texture down in here.
758
00:47:34,715 --> 00:47:35,715
Little more texture.
759
00:47:35,715 --> 00:47:40,965
We want to put some land area there,
a little more texture and more texture
760
00:47:44,475 --> 00:47:50,055
down in through here and over
on the other side, just a little
761
00:47:50,055 --> 00:47:52,095
bit right up in through here,
762
00:47:58,095 --> 00:48:01,155
pick up some highlights, Alexa.
763
00:48:01,545 --> 00:48:04,065
Maybe a little, this little
that we're going in there.
764
00:48:04,785 --> 00:48:08,145
If you learn to play with color like that,
look at the different colors I can get.
765
00:48:08,655 --> 00:48:09,885
Can you see that in my palette?
766
00:48:10,845 --> 00:48:11,955
Got all those different colors.
767
00:48:13,065 --> 00:48:15,405
You can get that in one
stroke of this brush.
768
00:48:15,435 --> 00:48:20,145
Loosen it up with the
magic for those colors.
769
00:48:21,585 --> 00:48:21,795
Okay.
770
00:48:21,845 --> 00:48:22,025
Yeah.
771
00:48:22,055 --> 00:48:23,075
Come up in here.
772
00:48:23,915 --> 00:48:26,435
We're going to bring a
little grassy area there.
773
00:48:27,305 --> 00:48:29,045
Look at the light touch.
774
00:48:30,390 --> 00:48:40,890
Light touch, come back up in there, bring
it down in, down in, back up in here.
775
00:48:41,400 --> 00:48:43,490
I'm going to tip, turn my brush over.
776
00:48:43,520 --> 00:48:46,460
Cause the paints work into
the other side again, because
777
00:48:46,460 --> 00:48:47,810
I want a lighter area there.
778
00:48:47,960 --> 00:48:57,830
Bring it down in here and all relax some
like, so yeah, let's finish off the water.
779
00:48:59,384 --> 00:49:05,105
And before do that, let's just
pick up a little, we need a
780
00:49:05,105 --> 00:49:06,455
little more grass over here.
781
00:49:06,575 --> 00:49:09,695
We need a little ground
pick up the same colors.
782
00:49:10,475 --> 00:49:14,404
Come over in here, bring it out there.
783
00:49:14,465 --> 00:49:19,085
Kind of move it in back into
shadow, back into shadow.
784
00:49:21,335 --> 00:49:21,545
Good.
785
00:49:21,545 --> 00:49:22,865
The polar of the pain.
786
00:49:22,895 --> 00:49:24,665
All of a sudden we're seeing sunlight.
787
00:49:25,080 --> 00:49:26,310
We're seeing movement.
788
00:49:26,490 --> 00:49:30,359
We're seeing creation
agree, ending the movement.
789
00:49:31,799 --> 00:49:33,660
I have an, a dark and a light.
790
00:49:35,520 --> 00:49:38,430
Now let's finish off the water.
791
00:49:38,430 --> 00:49:46,770
Let's take some, some, some of
that sick, white and load that
792
00:49:46,770 --> 00:49:50,990
brush like I've showed you.
793
00:49:54,135 --> 00:49:58,635
Clean dry brush, always
loaded the same way.
794
00:49:59,655 --> 00:50:00,405
Like, so
795
00:50:03,425 --> 00:50:06,365
now just with the corner of that
brush, I'm going to give a little
796
00:50:06,365 --> 00:50:10,835
movement up in there, back up in
there where the water splashing down.
797
00:50:12,275 --> 00:50:15,845
It's not much of a false,
so it won't show too much.
798
00:50:16,535 --> 00:50:17,825
Then I'm going to lightly touch touching.
799
00:50:17,825 --> 00:50:20,315
So highlight and maybe brush
it in a little bit at the
800
00:50:20,315 --> 00:50:22,445
bottom, touching some movement.
801
00:50:23,670 --> 00:50:24,840
Brushing at the bottom.
802
00:50:26,280 --> 00:50:26,970
Can you see that?
803
00:50:26,970 --> 00:50:28,800
I'm going nice and slow for you.
804
00:50:29,220 --> 00:50:30,180
Brushing at the bottom,
805
00:50:35,480 --> 00:50:36,440
back down in here,
806
00:50:39,680 --> 00:50:45,080
you can even draw a line, drawn the
lines back up in there, back up in
807
00:50:45,080 --> 00:50:48,650
here, lighten this up over, over here.
808
00:50:49,904 --> 00:50:54,404
Just by dragging the brush across and
letting some of that FIC weight pull
809
00:50:54,404 --> 00:51:01,845
itself up, back up in, through here,
back over a little bit lighter over here,
810
00:51:04,404 --> 00:51:09,465
a little bit more movement, a little
more lights back into the shoreline.
811
00:51:13,755 --> 00:51:14,355
Nice.
812
00:51:14,355 --> 00:51:16,215
See how nice that light place.
813
00:51:20,550 --> 00:51:25,470
Takes dark to create the light
and light to create the movement.
814
00:51:28,400 --> 00:51:32,760
Little more touches up
sparkle in the water here.
815
00:51:33,990 --> 00:51:35,880
Just let the paint do the work.
816
00:51:36,910 --> 00:51:37,950
Always loved my knife.
817
00:51:37,980 --> 00:51:41,280
The same though little splashes and
kind of pull them in at the bottoms.
818
00:51:42,300 --> 00:51:47,220
It's the same way you do
see escapes moving water.
819
00:51:48,045 --> 00:51:51,285
What are you doing seascapes
or we should do one of those.
820
00:51:51,345 --> 00:51:52,065
That would be good.
821
00:51:52,335 --> 00:51:53,325
She skips her fun.
822
00:51:56,345 --> 00:51:56,615
Yeah.
823
00:51:57,155 --> 00:51:58,445
So nice things gone.
824
00:51:58,475 --> 00:52:00,875
Let's finish this off now.
825
00:52:01,565 --> 00:52:01,865
Shit.
826
00:52:01,895 --> 00:52:07,475
Add just a little more some
down over on this side.
827
00:52:09,065 --> 00:52:09,485
Okay.
828
00:52:09,485 --> 00:52:14,915
I'm going to put in some dark little.
829
00:52:15,180 --> 00:52:18,750
Something maybe a little
Bush or whatever land area.
830
00:52:19,740 --> 00:52:26,790
So I have to go back to my dark, lewd
the brush up, knock off the edge though.
831
00:52:27,300 --> 00:52:28,650
Get rid of the chisel point.
832
00:52:29,610 --> 00:52:30,900
Come up in here.
833
00:52:30,900 --> 00:52:35,760
Maybe bring a little something
up in there, back down in,
834
00:52:39,360 --> 00:52:42,210
and maybe over like, so.
835
00:52:43,365 --> 00:52:47,794
Little more dark up in here,
a little something texture.
836
00:52:51,725 --> 00:52:51,904
Yeah.
837
00:52:51,944 --> 00:52:59,254
Let's take some color, pick a
color, but whatever color you
838
00:52:59,254 --> 00:53:02,884
pick, loosen it up with the magic.
839
00:53:07,205 --> 00:53:08,345
Come down in here.
840
00:53:08,345 --> 00:53:11,044
Like so down into shadow.
841
00:53:11,955 --> 00:53:16,694
Down into shadow, maybe a little
more red in that pick up the magic.
842
00:53:18,995 --> 00:53:20,314
Talk to your paintings.
843
00:53:21,604 --> 00:53:22,415
You notice I do.
844
00:53:24,095 --> 00:53:24,694
It's good.
845
00:53:24,725 --> 00:53:29,645
Sometimes they have to talk back
and you always know when, when it's
846
00:53:29,645 --> 00:53:35,285
working for you, you feel good about
it, especially when you're learning.
847
00:53:35,285 --> 00:53:37,265
There's a process of time to learn.
848
00:53:38,705 --> 00:53:40,774
And the more you give yourself that time.
849
00:53:42,340 --> 00:53:42,930
Easier.
850
00:53:42,930 --> 00:53:48,540
It comes little grass area down here
because some of that yellow, some
851
00:53:48,540 --> 00:53:58,710
of those colors loosen it up and
lightly touch in some little movement
852
00:53:58,710 --> 00:54:06,990
up in, through here, down into
shadow, down into shadow, like stuff.
853
00:54:11,775 --> 00:54:15,675
Yeah, we'll take just a
touch of my black medium.
854
00:54:16,545 --> 00:54:20,775
I'm going to add just a touch
of my permanent read to it.
855
00:54:23,025 --> 00:54:28,995
I want to loose paints, loose paint,
and I'm gonna take my, the liner brush.
856
00:54:30,585 --> 00:54:32,175
Look at how my fingers are turning.
857
00:54:32,385 --> 00:54:35,775
I'm turning the bristles of
that brush around in that paint.
858
00:54:36,690 --> 00:54:41,390
And that's a loose paint and I'm
going to bring a little twig up
859
00:54:41,390 --> 00:54:46,100
in here, maybe something back
up in there, little old things
860
00:54:46,100 --> 00:54:48,080
happening, little bigger up in there.
861
00:54:48,830 --> 00:54:54,230
We'll go ahead and move in
itself, but notice how nice the
862
00:54:54,230 --> 00:54:55,940
flexibility of that brush is.
863
00:54:57,650 --> 00:55:05,260
The Alexander brush has long, very
flexible hair and you're always working.
864
00:55:05,595 --> 00:55:08,265
From just the tip of, of the brush.
865
00:55:08,295 --> 00:55:14,595
Just the tip, bringing something
up in here, a little, something,
866
00:55:15,225 --> 00:55:17,835
little something up in here.
867
00:55:17,865 --> 00:55:21,465
Bring it down in little
things, moving around.
868
00:55:23,085 --> 00:55:24,555
Ooh, look at that.
869
00:55:24,555 --> 00:55:27,705
Be creative, be creative.
870
00:55:31,305 --> 00:55:31,635
Yeah.
871
00:55:31,695 --> 00:55:32,925
A couple of those up in here.
872
00:55:36,375 --> 00:55:39,435
And that shit just about
finish it up there.
873
00:55:41,384 --> 00:55:46,335
Now I'm going to use a little bit
of that black medium, because it's,
874
00:55:46,335 --> 00:55:51,585
I always, whenever I say my name,
I always use a loose paint and the
875
00:55:51,585 --> 00:55:54,075
consistency of this black is perfect.
876
00:55:55,335 --> 00:56:00,945
You can either use the black or I really
suggest you thin it to the consistency.
877
00:56:01,725 --> 00:56:09,105
Of either the magic white or the black
medium, that way it pulls off my brush
878
00:56:09,134 --> 00:56:12,165
the way I want it to just like we
did these little Twiggy things here.
879
00:56:15,255 --> 00:56:19,964
You have to thin it down thin a color
you like down with some of the paint
880
00:56:19,964 --> 00:56:23,444
thinner or use one of the magics.
881
00:56:25,485 --> 00:56:28,185
Like, so one now.
882
00:56:30,134 --> 00:56:36,495
Well, once again, I want to thank you
for enjoying the painting with me.
883
00:56:36,495 --> 00:56:39,585
I've had a good time and I
want you to have a good time.
884
00:56:39,825 --> 00:56:41,505
Go out there and give it a whirl.
885
00:56:41,805 --> 00:56:42,105
Thank you.
886
00:57:19,305 --> 00:57:19,935
Terrible.
887
00:57:22,575 --> 00:57:24,285
I couldn't think of anything to say.
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