Bill Alexander's

The Magic of Oil Painting

UNKNOWN Season, Episode, Mountain and Pond - AVAILABLE

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nice beginning.

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I love you today.

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Every pain in the happy

mountain, but nice streets there.

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A little bit of a swamp in the front

and as they go on, we will develop it.

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Okay.

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Magic.

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Right.

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I put the magic right on,

but the magic right on.

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Hmm.

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You need the magic right?

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Without it, we cannot mix every paint.

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Every color is mixed with white

and we put it on the canvas.

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That means I don't have

to mix on a palette.

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Okay.

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It's done.

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No, I fired him.

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I fired him.

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I fired in a happy blue, a tailored blue.

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It's a happy blue blue

and make a heavy paintings

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coming down.

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Get lighter, lighter firing at the

bottom because I need some on the bottom.

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Anyway, I had too much paint already.

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So.

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Get it on the button and brush

the brush, wash my brush, make

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sure you have a dry brush.

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And, and now I just go from the bottom

of C and divide this on the canvas.

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That means

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that means I am mixing.

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I'm mixing.

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I I'm mixing, uh, we pull it down a

bit more, further down a bit more.

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Now in this case, we will

get into the right and I will

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lighten up a little bit here.

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Just lighten up a little bit here.

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I put too much blue on the

that's, where we happened to you.

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I showed you how you shouldn't do it.

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Maybe that's a good excuse.

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Isn't it.

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So kind of a hazy little

bit of a wind in the sky.

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That's great.

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That's great.

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That's good.

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That's good.

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No, we take our mighty magic knife.

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Much of what I do.

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I take a clump of paint down here

and a touch of black would be good.

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Taylor blue.

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our lives in Crimson and you

Q you mix it G turn it over.

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Look how I do it.

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Now, take the whole thing

off and turn it over.

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And then you have it all mixed through

and through and mix it like Marbury that

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looks the best like this, and then hard it

on if it is the right distance evidence.

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Right.

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Fire off now, I must have put just a right

in the center that our Merde mountain.

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That's why they have, uh,

I have that canvas up.

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See,

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Oh, that's a beautiful mountains.

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And there that is sometime lane

a little bit here and there.

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Did you really see sometime a

little bit of a exercise there?

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No, you use your big brush.

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You use your big brush and feathered

and feathered into the violence.

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Aye.

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And everybody balloon something like

this and the very balloon, no paint.

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Make sure you don't have much paint on,

then you can make a better mountain.

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No, you, you highlight the mountain

wherever you would like to have the

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sun despite this way or from the front.

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So.

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I like it the best from one side, like

a it's a habit more than, yes, I am

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right-handed and for me it works better.

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When I put the sun from the right

side touch of red, touch your

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friends too much red already.

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See, I grounded myself.

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So make it extra note more by it.

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It takes some time.

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If I have to get it right

now, I think I got it.

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So all we were saying, the sun is

coming from this side and you put

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kind of a happy sunshine in there.

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There's so much power, so much power,

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you know, here.

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Here and the field where I pain right now.

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It's just wonderful to watch the animals.

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You hear the birds.

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I thank you here.

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And the camera to know, because even the

deer walked by and is his excitement is

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it's very exciting to see all downstairs.

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Yes,

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they then from the other

side, he was attached.

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You have blue.

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Happy blue and white

alone, blue and white seed.

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If I do it here, kind of a

happy blue, it laughs about you.

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Maybe a little more Vitus was a

bit too blue, something like that.

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See, now you put in like, and

the shelter, that little bit of a

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blue and a mountain is wonderful.

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Look at that.

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It gives you that distance

that are mighty height there.

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See, no, you, you, you can cut the other

mountain in front if you want to, but I

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will use the same mountain colors except

put a bit more dark and bit more black.

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And a bit more blue and a

bit more alizarin Crimson,

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and I am a statue for words.

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And now I show you sometime it is

nice to add other, other mountain

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parts just coming in from here.

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make it a bit darker, then you have

the distance that disappears in yonder.

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Again, you use your big

brush and brush it in.

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They brush it in like this disappears

appears right in the canvas.

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Oh, you can set it off a little

bit here because it's too close.

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Maybe I do it like this Z

because it became too close

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there that makes it better.

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And have other mountain

there, they try to make it.

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So just, it looks good.

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Or you paying the particular mountain,

then it is different, but here I just

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dreamed kind of a mountain up there.

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The same right here.

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Again.

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Rhonda was one, the four

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C, but you can do bits

that are mighty knife.

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Maybe here a little bit of highlight

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again, the blue in the back of this here.

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It's beautiful over there.

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It's just a little bit overdone,

but it looks good in the painting.

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See here, I have this stroke and I decide

to have this kind of a stroke and let

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all the little details get in there.

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SI now I take my one-inch brush and

we create some beautiful trees there.

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Oh my God.

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I got here.

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The airbrush.

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I have it already half loaded.

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I loaded more black

Prussian blue and zap green.

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You see.

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And then you fire in surround leave.

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It's nice.

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I would say here, I would like

to see a big, big four tree

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standing dead on this side.

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The dare.

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Oh, dark.

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Make it as dark as you can.

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And lots of power, lots of power.

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And you were down, down,

down, down, down, down down.

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No, no.

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Doesn't matter.

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Clean the brush.

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Okay.

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More.

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More black.

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I use black this time, precious blue.

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I, once it's very dark and zap

green, you see how I do it?

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And then fire, and maybe here

are the three, but lower because

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they put the other three in there

because I messed it up the side.

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You see?

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Yeah.

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And I would like to have

benches flying nicely there.

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This is very important this side here.

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And if you mess it up, like I did

before, then you have excused.

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You put the other three in there.

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You see?

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So that fits good.

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If it's good, which good.

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And no, I will know.

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I will maybe hear a little

other trees standing there.

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There's a nice for trees.

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dark, just dark.

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Don't worry about anything.

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This dark, the, I wants to let

that stick out of the trees.

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You're all really like, Ooh, so

much power standing in the sky.

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Never be a beautiful painting.

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The maybe here I have kind of.

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Uh, other doctory maybe like a leaf tree,

but dark, dark, dark, you, then it can

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highlight that nice dark, dark, uh, yeah.

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And make it this dark as much as you

can stock as much as he can dark cleaned

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your brush, actually nice and dark

deer, black, black passion, blue, or

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Taino blue, Don ma one of those blues.

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And, and, and, and maybe here

against this, he covered up

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whatever your dangit is not nice.

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And you fire in the other tree there,

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man.

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Uh, he dark, dark, dark,

dark, no mercy, no mercy.

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Make it nice and dark there.

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Again, use that color all the way through,

because we have to highlight that.

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And it's darker.

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We have it as easy as this to highlight

the zap green and blue and black.

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And I have a sharp brush and maybe cut

one in there as high as they can there.

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The, and that breaks it up a little bit.

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see now we buried a beautiful, powerful

painting there, Paula, for painting there.

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Maybe hear a little bit in between

this and between this little

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trees taken out, then got you

create a little bit of a distance.

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There creates a little

bit of a distance there.

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Maybe here you come a bit lower.

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You come a bit lower.

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he leave a dark nice and dark, nice and

dark and go right down to the bottom.

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We need lots of dark

there, here in the middle.

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I believe a little bit of a blue ever see

how it comes, how it come around there.

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Black Taylor blue and

green and South Korea.

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And maybe here we pull just the

tree higher up into the sky that

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would give a little bit, see that I

think it would look better that way.

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It depends on what you like, because

you are the artist you should paint

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and make, make your own decisions.

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Constantly.

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You make decisions.

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I think this is better because

I, I let that mountain just be

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so closed behind those big trees.

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So close behind those big trees,

and then you can set them back.

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But it's just, just a good vibe

of doing some time with my doing

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some time, but more darker.

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see.

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No, then you have it.

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Nice and dark like this.

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There's no problem.

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To use a knife and you

run in three trunks.

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Yeah.

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The tree trunk.

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It's like a plow you plow

to that can to the paint.

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That's the whole ID.

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Just plow to the paint.

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I don't add paint even.

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It's just a matter of

taking the paint off there.

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It gives you a kind of a nice

gray, grayish green streets there.

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Then you can have it here forever.

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You could think of tea

would be caught up in

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the same.

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Then in between you

can run lines up there.

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You see lines up there, lines up

there, Mitchell fired via the C.

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Can you see that?

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Now

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that tree there.

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All the tree trunk there.

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See how easy it is.

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Use your knife, like a plow.

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Not, not straight.

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It is not a cut like this.

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It is a cut a little bit on the edge.

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Can you understand that?

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Good.

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It needs a little bit of a training

for that, but there's no problem.

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A crooked line, other Crockett

line sometimes just come out there.

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The, now you, you use the other

brush, other little brush and you

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highlight, or the light is coming

from this side anyway, yellow.

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See what I do?

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Yellow, yellow Taylor blue.

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And I mix it with this right here.

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They used to call us.

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You have on the pallet, maybe a

little bit dirt, a little bit dirt,

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then use the dirt from the canvas.

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That's, that's kind of a dirty

green, they know fire, and

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a bit lighter, a bit

lighter, bit more lighter.

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Good ties out there.

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You can see a bit lighter, will be better.

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and leaves a dark.

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His, he leaves a dark underneath.

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Don't make it everywhere.

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Then you lose the whole thing.

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See here.

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And that has to be very loose,

very loose, very loose again.

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Load your brush.

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Your brushes load is with lots of pain.

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I mean, that brush is loaded.

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Yeah.

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That brush is loaded.

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Lots of pain.

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I see how nice you make it.

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Loose XE.

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That paint is nice and thick and strong.

260

00:18:42,764 --> 00:18:45,495

And it's very, very give you figures.

261

00:18:45,794 --> 00:18:48,495

And that's what he wants

to have figures there.

262

00:18:49,695 --> 00:18:56,385

Again, little touch of blue, yellow,

and white, and huge up to paint you have

263

00:18:56,385 --> 00:19:02,885

on the palette, the otherwise your VE

so much pain, uh, Dan little bit, eh,

264

00:19:15,095 --> 00:19:18,905

see again, I was load the brush.

265

00:19:33,585 --> 00:19:38,355

Use your own judgment while

you put the green on the

266

00:19:41,775 --> 00:19:42,315

white?

267

00:19:44,055 --> 00:19:49,845

Uh, here, I lightened it up a bit

more obvious from the sunny side.

268

00:19:51,765 --> 00:19:51,975

Yeah.

269

00:19:51,985 --> 00:19:53,715

That's becomes a powerful painting.

270

00:20:05,720 --> 00:20:05,990

he?

271

00:20:06,080 --> 00:20:13,129

No, you can think you can think you

have a little bit of a side side of a

272

00:20:13,399 --> 00:20:19,280

mountain side coming down there, kind

of a mountain side coming down there.

273

00:20:20,420 --> 00:20:20,810

See.

274

00:20:27,514 --> 00:20:27,875

huge.

275

00:20:27,875 --> 00:20:31,264

I'm happy green there

ever used the same bit.

276

00:20:31,264 --> 00:20:35,705

The bit more Vite, maybe a bit

more yellow and bring it out.

277

00:20:36,065 --> 00:20:40,565

See like Mars, like Mars you're

polling the Mars on that.

278

00:20:40,715 --> 00:20:42,365

Uh, they.

279

00:20:49,550 --> 00:20:55,580

But the loose, loose, very loosely,

very, very, very loose stroke there.

280

00:20:55,580 --> 00:20:59,060

Let it just dance down wherever

you think they should be.

281

00:20:59,060 --> 00:20:59,630

MAs.

282

00:21:00,050 --> 00:21:04,700

And then you can have a bit of

a dark, dark opening in between.

283

00:21:04,700 --> 00:21:11,090

Cause either sometime little

coves or little garage cracks.

284

00:21:11,580 --> 00:21:13,230

Then that makes it nice.

285

00:21:14,940 --> 00:21:16,260

Nice is coming from there.

286

00:21:16,500 --> 00:21:21,360

Then you can have that dark here,

coming in, all that dark in there,

287

00:21:21,390 --> 00:21:23,190

floating in there, floating in there.

288

00:21:23,490 --> 00:21:27,960

And then all of a sudden you find some

light from this side as a sample, you

289

00:21:27,960 --> 00:21:30,210

can highlight this side all around.

290

00:21:38,540 --> 00:21:38,930

See.

291

00:21:39,845 --> 00:21:42,795

Depends on how you wants

to see your painting.

292

00:21:45,135 --> 00:21:46,095

No, I will.

293

00:21:46,215 --> 00:21:46,725

I will.

294

00:21:47,025 --> 00:21:49,695

I will have a little bit of a swamp there.

295

00:21:54,375 --> 00:21:55,835

There's a bit of a swamp.

296

00:21:56,525 --> 00:22:01,925

Eh, I've I've uh, I will use

a touch of blue and the touch

297

00:22:01,925 --> 00:22:06,365

of white, the, and pull it up.

298

00:22:07,385 --> 00:22:07,925

Let's see.

299

00:22:14,240 --> 00:22:15,350

pull it up like this.

300

00:22:15,890 --> 00:22:20,180

See, and not too much pain,

just very rough, very rough,

301

00:22:28,070 --> 00:22:30,350

and then make voter out of that.

302

00:22:30,590 --> 00:22:33,290

See, make nice water out of that.

303

00:22:37,100 --> 00:22:40,280

and now you, you, you

can use the fan brush.

304

00:22:40,280 --> 00:22:45,860

If you want to, you can use the fan

brush and act like light and shadows.

305

00:22:46,100 --> 00:22:48,530

There's sun felling in between.

306

00:22:48,919 --> 00:22:51,530

And I will just tap there.

307

00:22:52,189 --> 00:22:56,449

There is some like a

grassy grassy shoreline.

308

00:23:02,465 --> 00:23:03,995

gassy shoreline there.

309

00:23:04,594 --> 00:23:09,665

And then as you come around, have a

darker here, maybe in the shadow, see,

310

00:23:10,145 --> 00:23:12,064

have a darker in the shadow there.

311

00:23:15,665 --> 00:23:22,475

See, and you, you, you, you,

you, you, you can put it in some.

312

00:23:23,639 --> 00:23:24,000

Okay.

313

00:23:24,030 --> 00:23:26,280

Color kind of awkward color.

314

00:23:26,280 --> 00:23:33,720

If you want like this, you see, and then

you, you, you can have a little bit of

315

00:23:33,899 --> 00:23:41,899

the, this, the, that gives you a list, a

bit of, uh, uh, whatever into the water.

316

00:23:45,440 --> 00:23:46,610

He, that makes it nice.

317

00:23:48,230 --> 00:23:49,879

And maybe he is a little bit.

318

00:23:51,420 --> 00:23:51,840

Yeah.

319

00:23:51,840 --> 00:23:56,040

A little bit, no, here a little bit.

320

00:23:56,850 --> 00:24:04,470

Do you must think in the forest,

there is some, some, something

321

00:24:04,470 --> 00:24:06,030

would fell in the water sometimes.

322

00:24:09,710 --> 00:24:09,800

Okay.

323

00:24:10,220 --> 00:24:17,960

Big acts like this, and now you come down

right here again, right into the water.

324

00:24:20,610 --> 00:24:26,850

And on this side and this side,

I will, I will, I will have

325

00:24:26,910 --> 00:24:29,910

white and yellow attach of SAP.

326

00:24:29,970 --> 00:24:36,389

Uh, is the invite, I mean,

magic, white magic, white.

327

00:24:36,690 --> 00:24:40,399

And you firing this ad on my G Bush.

328

00:24:40,430 --> 00:24:40,760

Dare.

329

00:24:42,410 --> 00:24:42,710

He.

330

00:24:49,550 --> 00:24:59,660

he, he was happened by doing that, but

fires right into the water to fire into

331

00:24:59,660 --> 00:25:06,620

the water, to their, see, then use a

big brush and make water out of that.

332

00:25:07,010 --> 00:25:07,550

See here?

333

00:25:07,970 --> 00:25:08,510

Yes.

334

00:25:08,570 --> 00:25:09,500

Like this.

335

00:25:12,825 --> 00:25:18,435

And then he's got a knife and

you, you, you, you, you can

336

00:25:18,435 --> 00:25:20,115

use the, the mountain color.

337

00:25:20,115 --> 00:25:23,685

See what I have here kind of a

mouth is a shadow side there.

338

00:25:24,255 --> 00:25:27,195

See that that mountain color

would be just perfect there.

339

00:25:27,885 --> 00:25:31,375

And you can have its own

light that like that.

340

00:25:32,595 --> 00:25:33,065

See.

341

00:25:47,120 --> 00:25:50,750

see no become to a happy ending.

342

00:25:51,830 --> 00:25:56,899

We come to a happy ending, maybe just

a bit of white and ghetto and have

343

00:25:56,899 --> 00:26:01,040

some really birthright birthright.

344

00:26:01,070 --> 00:26:05,719

I need something bright

to dare and I think.

345

00:26:07,050 --> 00:26:07,680

I have once too.

346

00:26:07,800 --> 00:26:08,310

Dang.

347

00:26:08,340 --> 00:26:11,850

I have a nice, happy painting done.

348

00:26:13,790 --> 00:26:14,330

You see?

349

00:26:14,360 --> 00:26:19,340

No, you can add an add whatever you

want there, but look at the power

350

00:26:19,340 --> 00:26:23,510

and that our mighty painting, the

dark trees in front of the Meiji

351

00:26:23,659 --> 00:26:25,760

mountain is standing in front of you.

352

00:26:26,270 --> 00:26:28,820

And that can be so much fun sometime.

353

00:26:29,960 --> 00:26:30,320

See.

354

00:26:31,165 --> 00:26:35,975

Maybe highlight that and

that the, it enjoyed it.

355

00:26:38,565 --> 00:26:39,375

Thank you for watching.

End .srt file.

Bill Alexander's The Magic of Oil Painting

Monday, December 14, 2020

UNKNOWN Season, Episode, Mountain and Pond - AVAILABLE

Bill Alexander's

The Magic of Oil Painting

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