Bill Alexander's
The Magic of Oil Painting
UNKNOWN Season, Episode, Misty Island - AVAILABLE
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Throughout this series on seascape
paintings, we have seen incredible
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beauty, romantic beaches and
powerful surf on today's show.
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We're going to portray these
elements in a painting.
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I call Misty Island.
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Hello, and welcome to the, I can't
say welcome to the today's show.
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I can't say welcome to the tonight show,
but I certainly can say welcome to the
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tonight show and that's where we're at.
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Now what I'm really saying too, is
forget the past, forget the future.
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It's right now.
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And that's, what's important.
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What I'd like to do is, um,
show you how to do Misty Island
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before we do Misty Island.
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I want to have you come up to the canvas.
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I have something kind of
special up there to show you.
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Can you see what I have?
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It is a lady looking at a painting.
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The painting says.
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Blacks black to you, but not to the art
critics, this abstract penny one, $1,000.
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Yeah.
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I did have a chance to
look at the painting.
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I have a black canvas today already.
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We're equal to that.
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We're worth a thousand dollars now.
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Let's make it even worth more.
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I'm going to show you how to do that.
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Let's look at the pallet and the
pallet is set up ready and formula.
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We have Saeilo blue and black equal parts.
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We put this into white, that'll be up in
the cloud area, the sky area, and then the
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clouds themselves, or the lights in the
cloud in the sky, yellow ochre and white.
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That's going to be very strong and
dramatic against the dark canvas.
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We have some of the sky color
plus white and a little touch of
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yellow ochre for our foam color.
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When you put a little yellow ochre in,
it takes away some of the gray look.
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Foam patterns is the sky color, but now
I have added a little extra black to it.
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So it's a little more grayish.
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Then we have our trees, those
beautiful somber trees, black
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and one half fail green.
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Then I have lights for the trees.
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We're adding some yellow ochre to the tree
color, and that gives us our highlights
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for our foam highlights, yellow ochre, and
white, and then coming down for the rocks.
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And this will also be for the distant
Island and let's say, distant Island
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and the rocks, y'all all Kerr and
Elizah and Crimson equal parts.
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And then you add a little bit of
the first base color, which was
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the Sailo blue and ivory black.
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Okay.
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Take a look at the brushes.
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The brushes we have set up are going
to be basically used in this order.
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We use the bunny brushes for
starting putting in the big things.
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And then we'll come across with the
fan brushes for, uh, pushing around
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the foam, soft blending Sable brushes
as needed, maybe a little brushed
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into the water that Twiggy brushes,
which are always neat for the foam
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patterns, the mop brush for the eye
and, um, little accents with the knife.
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Okay.
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We'll start by taking
the, the bunny brush.
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I'll dip into the medium, a very little
medium, and this is coming across
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to the thalo blue, black, and white.
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You just sort of push around a little bit.
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I did say I have a little medium in
the brush, but that's not very runny.
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Okay.
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Up to the canvas, wham up into the sky.
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As you do this, you're making a
little bit use of the black more so
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in the top left corner than anywhere
else, but even on the interior, you
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can see some of the black giving
some shadow to that, uh, blue color.
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Okay.
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As we come down lower,
we need to come down.
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So we're going to be
between what will be trees.
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So we're leaving almost kind of
little spokes there right now.
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Boy, that goes a long ways.
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I'm very pleased with that.
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I thought I'd have to
dip in a couple of times.
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Okay.
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As we come over to here we come
fairly close to the tree because
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we'll want the accent of the
tree to show against the sky.
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Let's even come down early
with a little bit of the rays.
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See that's the kind of blue rays showing
through between the Island and the tree.
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Okay.
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Now we'll clean the brush.
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I have just TURPs and
a paper towel is fine.
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Abuse, a paint rag, whatever
you find most, uh, easily used.
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You want something to
clean the brush as well.
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And you want something that kind
of keeps the paint off your hands.
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Okay.
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We're coming over to the skylights,
yellow ochre and white, and this, uh, is
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also with the bunny brush, but I have a
dry because the white is sort of soft.
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Okay, I'll push this up.
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And as I pushed this around, I will mix in
just a little bit with the blue and that
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gives me sort of a, well, the sun is up
there and it's kind of filtering through.
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So you have that.
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They're kind of filtered blue.
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Okay.
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Come over and sneak down through between
the trees a little bit, and that'll give
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us a chance for some of the character
to come against the light of the sky.
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Boy, that that's good.
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That is just right.
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Okay.
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What do we want to do over here?
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Let's take a, put a little bit
of the same color over in here.
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We might even suggest a
little bit of a clouds there.
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I want to be sure I don't detract
from the main source of light, the
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strength, the contrast over with the
sun and the trees, but we can have
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some there and blend quite a bit.
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So it isn't too light.
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There's a good brush, mom and dad give
that one to me, had that for a long
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time, not too long, but a long time.
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Okay.
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That does that.
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Real keep coming down.
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Uh, and let me say this.
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When I paint a painting, it isn't
always starting at the top of the
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canvas, putting every stroke down.
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When you get to the bottom
sign, it, I sorta like to work
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where my center of interest is.
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And, uh, sometimes you do it just
to kind of cover the canvas too.
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So whatever you feel comfortable with,
if you want to start at the bottom and
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work up, if you want to start in the
middle of workout, that's all right.
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There's no, there's no rule
on it that says you have to do
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it from the top to the bottom.
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I'm going to go over on the
distant Island and the way I'll
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do this is I'll take a fan brush,
just a little bit of, um, juice.
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And this is the color that's
yellow ochre in a lizard, Samson,
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and some of the blue black.
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Okay.
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When we put this on notice that
I'll go up a little bit past where,
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what was left open for the trees.
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So we go up into the
sky just a little bit.
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You know what?
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I don't think that's going
to be quite dark enough.
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I'm going to come back with some, this a
dark color first, let me show you this.
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This is, uh, going to be the
color we use on the large
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trees, but I'll also use some.
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Now, if I put this on, then I can
put that tan color on top of it.
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Yeah.
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That that's better.
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You, you can see that that works in
to be in soft anyway, because we're
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going up into the wet blue paint.
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And that was my concern that,
um, I wouldn't be able to see
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the trees unless we went darker.
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Okay.
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Well get some more paint here.
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Okay.
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Up a higher on this edge, we want a couple
that are kind of in the, the mystery and
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to do that without extra paint, go up.
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See how light that tree is.
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Are those trees are compared
to the two adjoining ones.
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It's just because you're
going up with less paint.
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Okay.
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And I was like, come down below.
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This is where I'll come back with,
um, with the Brown color that I
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first was going to put on the trees.
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So here we come, this is a, the ochre and
a Lisbon with a little blue black in it.
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We'll put this down on the bank
and all sort of a push around,
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see sort of a side push, see how
bright it is when I first put it on.
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Now I'm pushing it around so
you can see it's a darker.
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Just by having a thinned out.
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I have little chalk lines there that
show me where the positions should, where
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the position of everything should be.
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This color that I've just put on
is going to go up on the trees.
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Then just a little bit with the branch.
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We can put this on, see there
that shows up against the, uh,
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the dark tree a little bit better.
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Okay.
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That, that looks good.
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And I might even sneak
one of those in there.
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So you have distant.
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Kind of warm trees.
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That's good color.
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Okay.
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Let's go past that.
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And let's come over to the
big trees, the big trees we're
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going to use the same fan brush.
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And this is the color that I
just put for on the Island trees.
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This is my black and one half salal green.
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I'll use a little bit of medium on
that because we have quite a bit to do.
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We have a lot of these and we
want them to be kind of, they
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come off sort of casual, like.
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Okay, go up past the light, go up into it.
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It makes it soft.
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Isn't that nice.
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And then kind of dance that around.
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Can you see how I'm using the full brush?
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And once you get that covered, you're,
you're black on black practically, so
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you don't have to cover it completely.
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But when you do go up past into
the sky area, then I'll use
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a little more care with the.
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Sort of the corner of the brush
and dance it around a little bit.
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Even these that I have up
there, you want to make almost
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like little fingers pointing.
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Let me see.
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Say one thing to you on, uh, on trees
you think, well, gee, they're just
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trees bang away, but you know what I
have in mind as I was doing this, have
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you ever seen that a painting called
the creation of man by Michael Angelo?
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It shows God up in heaven and,
and Mike landfill reaching up.
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So you got the two
fingers kind of touching.
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Well, gosh, when I look at this.
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I get sort of the same feeling this
says reaching over towards the Island
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and the islands reaching back a
little bit, the creation of the trees.
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But if you have those, uh, great
paintings in mind, it's really pleasing
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how they inspire you as you paint
something that might be an entirely
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different subject, which this is as
I do this, of course, you're, you're
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touching into the wet, uh, Boundary.
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And of course, as you come back,
you're picking a little bit of
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that up and it turns almost a
little bit towards a blue-green.
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I'll take just a quick touch up here.
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This, this is the yellow ochre and
white, which we put on earlier.
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That's a little too wide at the
top, so let's just push that in.
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Then the tree will feel a little
more like it's a tapering.
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So this same brush, same paint.
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Pretty much just hitting the edge
now because you're, uh, wanting to
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come closer and closer to, to each
other, the trees, as they get lower,
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these trees are holding hands.
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Did you, did you know that they are their
neighbors and they're good neighbors.
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Okay.
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And then I'll just kind of swish
inside and say, Oh, it's lucky.
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My neighbor dressed the
same way I did today.
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The lights go on the trees next,
and the lights are going to be
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the yellow ochre, which has been
added into some of the dark.
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So you got dark and yellow ochre
gives us sort of a green look.
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Okay.
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Let's come up to the trees then.
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And here we go.
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Just kind of on the interior,
the light is coming from behind.
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So these are in silhouette.
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But we still get a little more form
if we show some interior light.
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Isn't that pretty?
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I can see you nodding your head.
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Yes, it's pretty.
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Thank you.
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Okay.
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There we have half a painting done.
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We'll come down lower.
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As we come down lower, let's go ahead
with the foam patterns, the foam patterns,
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as something that gives so much help
movement of the wave and they decorate it,
233
00:12:27,725 --> 00:12:29,555
they decorate it and they give movement.
234
00:12:29,945 --> 00:12:35,285
This is going to be with our, um,
Twiggy brush and the foam pattern
235
00:12:35,855 --> 00:12:40,025
color is our sky color, which
was the blue, black, and white.
236
00:12:40,535 --> 00:12:43,715
But then we have just a
little extra black in it.
237
00:12:43,995 --> 00:12:46,695
So it's more gray than it
than it was in the sky.
238
00:12:48,075 --> 00:12:48,435
Okay.
239
00:12:48,435 --> 00:12:48,825
Here we are.
240
00:12:48,885 --> 00:12:49,425
Here we come.
241
00:12:49,425 --> 00:12:54,515
And we'll put this on against
the, uh, black canvas.
242
00:12:54,545 --> 00:12:55,955
Yeah, it shows up quite well.
243
00:12:56,795 --> 00:12:59,885
This is almost like you might
consider the way Rembrandt would pay.
244
00:13:00,605 --> 00:13:05,675
Rembrandt would paint
with a very low light.
245
00:13:05,705 --> 00:13:07,895
This might be what would
be his lightest light.
246
00:13:08,735 --> 00:13:11,520
And then when he finished the whole
painting, And then when he put
247
00:13:11,520 --> 00:13:12,960
on, which was practically white.
248
00:13:12,990 --> 00:13:14,280
Oh, it just Google.
249
00:13:14,430 --> 00:13:17,670
So when you say low key, that's
what you're referring to as
250
00:13:17,670 --> 00:13:19,950
far as, uh, not very light.
251
00:13:20,820 --> 00:13:21,060
Okay.
252
00:13:21,060 --> 00:13:22,050
Well, bring these up.
253
00:13:22,380 --> 00:13:28,790
These are all going the same direction
and see at the base of these, I
254
00:13:28,800 --> 00:13:31,890
kind of widen them a little bit and
they sometimes joined together too.
255
00:13:31,920 --> 00:13:34,140
That's that's not always necessary.
256
00:13:34,140 --> 00:13:36,540
We have one apart there, but
the joining together gives a
257
00:13:36,540 --> 00:13:38,310
kind of a relaxed feeling too.
258
00:13:41,900 --> 00:13:46,040
So much fun to use a canvas where
you can allow a lot of what's there
259
00:13:46,730 --> 00:13:50,930
to be part of the, um, the color,
the color of the whole picture.
260
00:13:51,350 --> 00:13:57,020
This black is acting as the dark of
our water, and it's also acting as
261
00:13:57,020 --> 00:14:00,320
a lot of the color in the trees and
it will be for a lot of color in
262
00:14:00,320 --> 00:14:01,970
the rocks, the shadows of the rocks.
263
00:14:02,570 --> 00:14:02,810
Okay.
264
00:14:02,850 --> 00:14:05,300
Now we have the big, large
foam patterns down below.
265
00:14:06,210 --> 00:14:07,320
We have a big wave here.
266
00:14:07,470 --> 00:14:12,240
You'll be able to see these ways more
once we get the highlights on, but as
267
00:14:12,240 --> 00:14:15,030
long as you have the drawing there,
and then you get a little idea of where
268
00:14:15,030 --> 00:14:23,160
your boundaries are, this is all as we
say, or as I said on a dry canvas, and
269
00:14:23,160 --> 00:14:26,970
it's a little bit easier to control
your foam patterns by going on top of
270
00:14:26,970 --> 00:14:31,200
a dry canvas, the advantage you have,
if you're putting it on top of a wet
271
00:14:31,200 --> 00:14:32,940
canvas, is that it blends in a little bit.
272
00:14:32,940 --> 00:14:34,320
It might be a softer bland.
273
00:14:35,025 --> 00:14:39,855
But you also have the chance of, uh, doing
it very well when it's on the dry canvas.
274
00:14:40,415 --> 00:14:40,565
Okay.
275
00:14:40,565 --> 00:14:42,575
Let's take a bunny brush.
276
00:14:43,325 --> 00:14:46,145
I need to clean up and then I'll dry it.
277
00:14:46,145 --> 00:14:48,935
So I'm just working with the bunny brush.
278
00:14:48,965 --> 00:14:52,055
That will be strictly
a blender as I do this.
279
00:14:52,505 --> 00:14:53,465
I'll push a little bit.
280
00:14:53,465 --> 00:14:55,655
So some of these won't be quite as sharp.
281
00:14:55,895 --> 00:14:57,965
You'll almost make a little Mashad, right?
282
00:14:57,995 --> 00:14:58,625
Some of them.
283
00:15:00,245 --> 00:15:02,345
So you get a little bit tales
from them as a kind of a.
284
00:15:03,105 --> 00:15:07,214
Little bit of a windblown feeling on
that, that takes the sharpness away
285
00:15:08,295 --> 00:15:10,724
and form is such a interesting thing.
286
00:15:10,765 --> 00:15:12,495
It just seems to have no mind of its own.
287
00:15:12,495 --> 00:15:13,995
It follows wherever the water tastes.
288
00:15:18,064 --> 00:15:18,334
Okay.
289
00:15:18,334 --> 00:15:21,185
Blend more across there and across there.
290
00:15:22,025 --> 00:15:24,844
So you get such a nice feeling
by just spreading out the
291
00:15:24,844 --> 00:15:26,224
foam patterns a little bit.
292
00:15:27,724 --> 00:15:27,995
Okay.
293
00:15:27,995 --> 00:15:30,165
Now we'll go on and we'll put a little.
294
00:15:30,569 --> 00:15:36,210
Light in the eye of the wave and
we'll use a mop brush on this.
295
00:15:36,960 --> 00:15:39,980
I'm going to take, um,
we'll use the yellow, okay.
296
00:15:39,980 --> 00:15:43,910
And white that we used up in the
sky, and this is the mop brush.
297
00:15:44,090 --> 00:15:47,300
Just dry brush, sort of fill
it in and you put this where
298
00:15:47,300 --> 00:15:49,850
you want it there and there.
299
00:15:50,390 --> 00:15:52,910
And once you put it where you want
it, and then you sort of blended
300
00:15:52,910 --> 00:15:56,750
out, you very quickly see the gray.
301
00:15:57,224 --> 00:16:00,344
As the light is thinned out on the
black sea, that that's almost like
302
00:16:00,344 --> 00:16:05,655
you put up a second color, the second
color being a gray on the back.
303
00:16:05,805 --> 00:16:08,204
I need to spread that out a little more.
304
00:16:08,204 --> 00:16:10,364
I'll take some there and
put some over here too.
305
00:16:10,905 --> 00:16:13,305
This should be a little less
light than the front one.
306
00:16:13,305 --> 00:16:15,675
So I'm touching right in
the lightest part as well.
307
00:16:16,035 --> 00:16:17,625
So it isn't quite as light anymore.
308
00:16:18,375 --> 00:16:20,864
Then you're not competing
with the lower eye.
309
00:16:21,405 --> 00:16:24,135
You know, even people have one eye
that's more dominant than the other.
310
00:16:26,355 --> 00:16:31,694
I know somebody that has two great
eyes, but it's, uh, so, but in an
311
00:16:31,694 --> 00:16:34,425
ocean, you want to be sure that
one eye is a little stronger, so
312
00:16:34,425 --> 00:16:35,775
you don't divide your interest.
313
00:16:35,775 --> 00:16:37,064
That is always the thing.
314
00:16:37,305 --> 00:16:40,235
Tell one story and tell it well, okay.
315
00:16:40,235 --> 00:16:43,355
Let's uh, let's go to the form itself.
316
00:16:43,385 --> 00:16:49,834
This will be with a fan brush and I'm
going to use, uh, this is sky color and
317
00:16:49,834 --> 00:16:52,834
white with a touch of yellow ochre in it.
318
00:16:53,925 --> 00:16:56,505
And we'll put this up with a fan brush.
319
00:16:56,505 --> 00:16:57,704
This is dry fan brush,
320
00:17:01,115 --> 00:17:05,494
push it on that almost
said like, wish it on.
321
00:17:05,494 --> 00:17:05,944
Didn't it.
322
00:17:06,065 --> 00:17:06,744
Push it on.
323
00:17:09,125 --> 00:17:16,024
As I come closer to where the edge
of it will be then stop and clean
324
00:17:16,024 --> 00:17:17,734
the brush, just wipe the brush.
325
00:17:17,764 --> 00:17:18,575
It's not clean.
326
00:17:19,024 --> 00:17:19,865
And then feather.
327
00:17:21,780 --> 00:17:23,010
Feather past that.
328
00:17:23,850 --> 00:17:25,190
Ooh boy, isn't that nice.
329
00:17:25,380 --> 00:17:27,110
It goes up and says hello to the tree.
330
00:17:27,230 --> 00:17:29,210
That that must be
everybody's favorite tree.
331
00:17:29,360 --> 00:17:31,070
You know how I look this
neighbor saying hello to it?
332
00:17:31,070 --> 00:17:31,790
They're holding hands.
333
00:17:32,000 --> 00:17:33,410
This neighbor says, hi, how are you?
334
00:17:33,560 --> 00:17:35,120
The phone comes up to say, hello.
335
00:17:36,380 --> 00:17:38,480
That's a, that's a Kathleen tree.
336
00:17:39,230 --> 00:17:40,220
That's a great tree.
337
00:17:41,630 --> 00:17:42,590
Super limbs.
338
00:17:46,160 --> 00:17:49,370
Now you, you might say, well,
this is a little, uh, equal.
339
00:17:49,695 --> 00:17:51,254
In height and that's true.
340
00:17:51,254 --> 00:17:52,215
So just push this down.
341
00:17:52,395 --> 00:17:54,705
However, when you put the highlight
on your interest is going to come
342
00:17:54,705 --> 00:17:56,764
back on side and that'll help.
343
00:17:56,975 --> 00:17:57,215
Okay.
344
00:17:57,215 --> 00:17:58,445
Just fan that a little bit.
345
00:17:58,835 --> 00:18:02,405
And when I'm fanning it, I'm
taking a little paint from that.
346
00:18:02,675 --> 00:18:04,055
And then I have it on the brush.
347
00:18:04,055 --> 00:18:10,085
So when I come back behind on that
wave, always considering variety
348
00:18:10,085 --> 00:18:15,455
as a for forgoing thought or the
foremost thought when you're, when
349
00:18:15,455 --> 00:18:17,225
you're doing foam or foam patterns.
350
00:18:17,465 --> 00:18:18,215
See, I have.
351
00:18:18,570 --> 00:18:22,169
I have just about the same width all the
way across there, even though it's curvy.
352
00:18:22,350 --> 00:18:23,639
It's too much, the same width.
353
00:18:24,000 --> 00:18:24,629
What do you do?
354
00:18:24,840 --> 00:18:27,270
You do one of two things
I'm going to, oops.
355
00:18:27,399 --> 00:18:30,180
Did D did anybody see me putting
the finger in the paint down there?
356
00:18:30,389 --> 00:18:31,889
I put the finger in the paint down there.
357
00:18:32,520 --> 00:18:32,790
Okay.
358
00:18:32,790 --> 00:18:33,840
I'm going to use some of that.
359
00:18:34,230 --> 00:18:34,980
Oh gosh.
360
00:18:35,610 --> 00:18:35,909
Listen.
361
00:18:35,909 --> 00:18:39,810
If this is worth a thousand,
this must be worth about $25.
362
00:18:39,810 --> 00:18:40,169
Okay.
363
00:18:41,129 --> 00:18:42,540
I'm going to erase a little bit.
364
00:18:44,310 --> 00:18:45,139
You can erase.
365
00:18:45,524 --> 00:18:49,845
From from there, which is below,
or you could raise a little bit
366
00:18:49,845 --> 00:18:53,254
from above anything that gives a
little bit of variety into that.
367
00:18:53,254 --> 00:19:01,835
Um, w uh, the amount of paint more form
on this side really squish it around.
368
00:19:02,165 --> 00:19:07,024
I'm using very little paint so I can push
sort of hard and, uh, have control of it.
369
00:19:07,355 --> 00:19:11,375
I have a little coming down here and
all these things are going to have
370
00:19:11,555 --> 00:19:13,205
highlights on them very shortly.
371
00:19:13,534 --> 00:19:17,370
We'll put some, uh, Color
on the, on the rocks.
372
00:19:17,639 --> 00:19:21,750
Before we go to the highlights on
the, on the form, on the rocks,
373
00:19:22,260 --> 00:19:24,870
we, uh, already use this color,
but let me show it to you again.
374
00:19:24,870 --> 00:19:27,690
This is a, without any
medium, this is dry brush.
375
00:19:27,990 --> 00:19:29,070
This is what we use.
376
00:19:29,070 --> 00:19:32,190
Yellow ochre and a Lisbon
with a little blue black unit.
377
00:19:32,430 --> 00:19:35,700
We use this on the distant
cliffs and distant trees.
378
00:19:36,450 --> 00:19:36,810
Okay.
379
00:19:36,810 --> 00:19:40,820
As we come up here, you're
putting this on and.
380
00:19:41,370 --> 00:19:42,750
Damn thinking of variety.
381
00:19:42,750 --> 00:19:48,140
So this one's a little longer
narrow kind of thin it out.
382
00:19:48,140 --> 00:19:52,960
So you don't have quite
as much paint there.
383
00:19:52,970 --> 00:19:54,230
That, that looks pretty good.
384
00:19:55,040 --> 00:19:55,340
Okay.
385
00:19:55,340 --> 00:19:58,370
Now on that same rock where we'll
stay just for a moment, we'll come
386
00:19:58,370 --> 00:20:03,020
with some of our foam pattern color,
which we, uh, put on this again with
387
00:20:03,020 --> 00:20:05,630
just the, a Sable brush, dry brush.
388
00:20:06,320 --> 00:20:08,210
We put this on more or less.
389
00:20:08,940 --> 00:20:13,530
Law because the phone has been,
the water's been rushing off there.
390
00:20:13,950 --> 00:20:16,980
What ha I like that where you can just
see a little bit of the gold coming
391
00:20:16,980 --> 00:20:19,260
through and, and mix in slightly.
392
00:20:19,740 --> 00:20:23,280
Then you get a little feeling
towards the green, look to them and
393
00:20:23,280 --> 00:20:24,900
then I'll push against the rock.
394
00:20:25,680 --> 00:20:28,020
So you get a feeling like the
water is moving against it.
395
00:20:28,280 --> 00:20:31,460
And where, when I had the paint
on the brush, I see I've been
396
00:20:31,460 --> 00:20:34,040
mixing a little with the, the
Brown and that, which is fine.
397
00:20:34,040 --> 00:20:35,570
Now come down at the lower edge.
398
00:20:36,270 --> 00:20:37,350
And just put this down.
399
00:20:37,350 --> 00:20:38,969
If it's got a little bit tan in it, fine.
400
00:20:39,270 --> 00:20:42,270
It looks like it's a little sand
or maybe even reflecting that rock.
401
00:20:45,629 --> 00:20:46,530
Oh, okay.
402
00:20:47,449 --> 00:20:55,100
Now we'll come up with, uh, some of the
form highlights and the form highlights
403
00:20:55,340 --> 00:20:58,159
first will be put on the lower water.
404
00:20:58,459 --> 00:20:59,419
This is yellow ochre and white.
405
00:20:59,419 --> 00:21:00,649
Look, I am using a knife.
406
00:21:00,679 --> 00:21:01,760
I'll put this on with a knife.
407
00:21:03,915 --> 00:21:05,505
This is a yellow ochre and white.
408
00:21:05,745 --> 00:21:07,755
It's a little more white than the sky.
409
00:21:14,795 --> 00:21:18,515
And as I put this on, I'm going
to, uh, just sparkle a little bit
410
00:21:18,545 --> 00:21:24,425
each place that's up on the rocks
near the rocks, Don on the shore.
411
00:21:24,845 --> 00:21:32,025
Ooh, can't you see that gleam in
the middle near the, uh, Underneath
412
00:21:32,025 --> 00:21:35,145
the eye where the light would just
hit down there to see the lights
413
00:21:35,145 --> 00:21:36,615
coming from above and just hits that.
414
00:21:37,215 --> 00:21:37,455
Okay.
415
00:21:37,455 --> 00:21:39,195
Let's splash a little bit up in the back.
416
00:21:39,435 --> 00:21:44,055
We're doing this, uh, with
the nice vitality, boom.
417
00:21:44,325 --> 00:21:44,865
Look at that.
418
00:21:45,545 --> 00:21:47,255
Be the, be the form yourself.
419
00:21:47,285 --> 00:21:49,415
If you do a home wish, boom.
420
00:21:52,775 --> 00:21:53,795
Sometimes it comes out.
421
00:21:54,065 --> 00:21:58,865
Wish, wish w I S H we should
go in the right place.
422
00:22:01,065 --> 00:22:02,355
I love penny ocean so much.
423
00:22:02,385 --> 00:22:07,695
My kids, once they asked, they said,
dad, you know, uh, do you, do you
424
00:22:07,695 --> 00:22:09,705
want to someday be buried at sea?
425
00:22:10,545 --> 00:22:13,785
And I thought, gosh, that'd be great,
but, but I'm a little concerned.
426
00:22:14,355 --> 00:22:16,185
What, why are you concerned, dad?
427
00:22:16,665 --> 00:22:17,445
Well, I'm concerned.
428
00:22:17,445 --> 00:22:19,245
You'd probably drawn while
you're digging the hole.
429
00:22:20,655 --> 00:22:20,895
Okay.
430
00:22:20,895 --> 00:22:22,274
Now we'll take a fan brush.
431
00:22:22,305 --> 00:22:30,195
Let's take a, um, this is a, um,
Better fan brush Badger, blender.
432
00:22:34,565 --> 00:22:35,825
Oh, great.
433
00:22:36,755 --> 00:22:38,255
See how that blends blends.
434
00:22:39,035 --> 00:22:44,165
You splash some of this up, so it's
not too sharp on the top, but you save
435
00:22:44,165 --> 00:22:46,955
some of the vitality because that's
again where the light is hitting.
436
00:22:48,605 --> 00:22:49,505
Push this around.
437
00:22:49,745 --> 00:22:50,945
Sometimes you just dig.
438
00:22:50,945 --> 00:22:53,615
So the paint stays right in place.
439
00:22:53,615 --> 00:22:55,055
You just softening it right there.
440
00:22:57,750 --> 00:22:58,080
Okay.
441
00:22:58,080 --> 00:23:00,270
No big sweeping motion down below.
442
00:23:02,659 --> 00:23:05,629
Hmm that's uh, that man.
443
00:23:05,780 --> 00:23:06,199
Good.
444
00:23:06,199 --> 00:23:09,800
And it meant also all a little too
much, but just wipe a little bit away.
445
00:23:15,080 --> 00:23:17,659
Oh, it's so fun to get Misty.
446
00:23:17,750 --> 00:23:18,740
Oh, that's the name of the picture?
447
00:23:18,740 --> 00:23:19,219
Isn't that great.
448
00:23:19,219 --> 00:23:21,080
How we work that in miss the Island?
449
00:23:21,139 --> 00:23:21,949
Oh yeah.
450
00:23:25,665 --> 00:23:26,145
I think we're good.
451
00:23:26,165 --> 00:23:29,105
You can have just a little
bit of that sparkle up there.
452
00:23:30,935 --> 00:23:31,225
Okay.
453
00:23:31,605 --> 00:23:35,135
I've been using the blender brush,
but I'm going to quickly turn
454
00:23:35,135 --> 00:23:37,895
around and use the, uh, the blender.
455
00:23:38,285 --> 00:23:41,165
This is the bunny blender
bunny bucks, bunny brush.
456
00:23:41,585 --> 00:23:45,695
See that softens in a faster mode.
457
00:23:50,385 --> 00:23:52,215
Need to push this so it
doesn't end abruptly.
458
00:23:54,165 --> 00:23:55,725
It does not end abruptly anymore.
459
00:24:00,995 --> 00:24:01,265
All right.
460
00:24:01,265 --> 00:24:04,865
We need to have a couple little
visitors here and we're going
461
00:24:04,865 --> 00:24:07,895
to take the Twiggy brush.
462
00:24:08,255 --> 00:24:11,225
And this is, uh, this guy.
463
00:24:11,255 --> 00:24:11,675
What is this?
464
00:24:11,675 --> 00:24:12,515
This is form color.
465
00:24:13,065 --> 00:24:14,325
This is the great foam color.
466
00:24:14,595 --> 00:24:15,375
And we'll put this on.
467
00:24:15,375 --> 00:24:17,685
We have over near the Island.
468
00:24:18,315 --> 00:24:21,345
This is a Twiggy brush and we
have just a little gray here
469
00:24:21,945 --> 00:24:23,565
and a little gray up there.
470
00:24:24,095 --> 00:24:24,165
Yeah.
471
00:24:24,215 --> 00:24:25,235
And we have a distant one.
472
00:24:27,095 --> 00:24:30,065
Boom, two birds closer.
473
00:24:30,095 --> 00:24:31,775
We need to put a little
highlight on the close one.
474
00:24:32,345 --> 00:24:35,105
This is going to be with
a yellow ochre and white.
475
00:24:35,315 --> 00:24:38,855
This is a form highlight color,
and it's the Twiggy brush as well.
476
00:24:39,185 --> 00:24:41,705
This one has just a little head.
477
00:24:42,600 --> 00:24:43,770
Can you, you can see that.
478
00:24:43,800 --> 00:24:44,280
Great.
479
00:24:45,270 --> 00:24:48,180
Just a little bit of a head, a little
bit of light on the wing, and then
480
00:24:48,180 --> 00:24:55,500
the smallest feeling of a little
light back for the tail that nice.
481
00:24:55,640 --> 00:24:58,640
This one is just getting ready to
hover that that's the female she's
482
00:24:58,910 --> 00:25:02,180
leading the way and she's a little
more decked out than the other one is.
483
00:25:02,660 --> 00:25:02,960
Okay.
484
00:25:02,960 --> 00:25:04,670
I let's see as far as what else to do.
485
00:25:04,670 --> 00:25:04,970
Okay.
486
00:25:04,970 --> 00:25:06,110
Don, at the front of the.
487
00:25:06,645 --> 00:25:13,155
The shore that stops a little sharp, like,
so we'll take a, this is the Sable brush.
488
00:25:13,875 --> 00:25:15,075
We'll come down to the pallet.
489
00:25:15,795 --> 00:25:17,345
See as a, the sky.
490
00:25:17,645 --> 00:25:18,575
Why do I keep saying sky?
491
00:25:18,575 --> 00:25:22,145
This is our foam color, I guess,
because they made sky and white
492
00:25:22,655 --> 00:25:23,975
is why I keep saying sky color.
493
00:25:24,605 --> 00:25:26,405
So it is sky color, but
it has more white in it.
494
00:25:26,435 --> 00:25:27,695
Therefore making the foam color.
495
00:25:28,385 --> 00:25:28,475
Okay.
496
00:25:28,745 --> 00:25:28,895
Okay.
497
00:25:28,895 --> 00:25:32,825
Let's come down here and we'll
go back and forth just to
498
00:25:32,825 --> 00:25:34,505
make it a little bit more wet.
499
00:25:35,190 --> 00:25:38,460
It still doesn't have the final
little character down there.
500
00:25:38,460 --> 00:25:40,770
The final little character
will do with a knife.
501
00:25:41,100 --> 00:25:44,520
That's coming down with the foam
color, just push this around.
502
00:25:44,760 --> 00:25:48,810
I'll take him, fill that so you can see it
if just on the edge and then we're going
503
00:25:48,810 --> 00:25:50,909
to have it kind of come off the edge.
504
00:25:51,510 --> 00:25:51,899
Okay.
505
00:25:52,610 --> 00:25:54,649
So here, we'll start over here.
506
00:25:55,040 --> 00:25:57,200
Just a little bit of a kind of a curve.
507
00:26:04,385 --> 00:26:04,774
okay.
508
00:26:04,774 --> 00:26:07,745
This, um, we can narrow it slightly.
509
00:26:08,105 --> 00:26:09,304
I think that's pretty close.
510
00:26:09,605 --> 00:26:13,985
If you, if you do take the Twiggy brush,
sort of as a final, let me do that.
511
00:26:14,495 --> 00:26:19,324
This would be come back with a Twiggy
brush, medium and our foam color.
512
00:26:20,645 --> 00:26:20,975
Okay.
513
00:26:20,975 --> 00:26:25,504
Now you're going to put
this on a few places that.
514
00:26:26,355 --> 00:26:29,835
We'll get, add a little sparkle and
add some character to it because it,
515
00:26:29,865 --> 00:26:34,815
uh, it might be over blended unless
you, unless you put some of these on,
516
00:26:37,185 --> 00:26:40,365
remember when I say, when you do it, I'm
expecting you to paint this painting.
517
00:26:41,325 --> 00:26:42,285
I want you to do it.
518
00:26:42,315 --> 00:26:43,575
It's a, it's a lot of fun.
519
00:26:43,965 --> 00:26:49,785
I need to tell you one thing, which
was kind of, uh, interesting this, um,
520
00:26:51,345 --> 00:26:53,355
I did a painting somewhat like this.
521
00:26:53,355 --> 00:26:55,095
At least the color scheme was the same.
522
00:26:56,195 --> 00:26:58,445
And I took it over and showed
my teacher Claude buck, and
523
00:26:58,445 --> 00:27:00,305
he says, Oh, Oh, that's great.
524
00:27:00,575 --> 00:27:01,505
He says, could you leave?
525
00:27:01,565 --> 00:27:02,435
I came on a Friday.
526
00:27:02,825 --> 00:27:04,625
He says, could you leave
it here over the weekend?
527
00:27:04,865 --> 00:27:05,675
And I said, sure.
528
00:27:05,675 --> 00:27:06,785
I was very impressed.
529
00:27:07,265 --> 00:27:11,555
So the next day was Saturday and
one of his students came and said,
530
00:27:11,585 --> 00:27:15,785
uh, would you mind if I turn that
painting around it depresses me.
531
00:27:16,485 --> 00:27:18,945
Isn't it funny, two points
of view on the same painting.
532
00:27:19,365 --> 00:27:21,645
And so what that's going to happen.
533
00:27:22,035 --> 00:27:23,895
Some people are going
to like it and some art.
534
00:27:24,135 --> 00:27:25,365
I hope you like miss the Island.
535
00:27:25,395 --> 00:27:26,775
I hope you like the technique.
536
00:27:27,105 --> 00:27:30,315
It's very helpful to have a prime
canvas where you can let a lot of it.
537
00:27:30,315 --> 00:27:31,725
Show which we've done today.
538
00:27:31,965 --> 00:27:32,895
Thank you for coming.
539
00:27:33,045 --> 00:27:34,395
We'll see you next time.
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