Bill Alexander's

The Magic of Oil Painting

UNKNOWN Season, Episode, Palms - AVAILABLE

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Isn't that fantastic being

on that beautiful sand beach.

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So let me show you how we

would put that on this canvas.

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Nothing is on it.

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No.

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So space it in your mind first.

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It was a time when I

measured and we did on today.

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I don't do it anymore.

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I just space it roughly and fire them.

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So we have a happy sky.

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They're more like a tour car.

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Sky is solid and sky.

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I will use the kind of, or what

you call it that I forget those

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names, Alvarez of that paint.

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It's a turquoise color.

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What you see here?

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You see how I put it on.

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Payload green.

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Now it gets in my mind.

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Oh, you know, when you get older,

you forget, you can't use the pain

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so much, but it is a happy color.

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Actually, when you see it here,

you see there and start off

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from the, from the top down.

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Like we do all vices.

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We create a depth there, but

understand leaving the right.

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I will use a touch of yellow,

a touch of yellow in that.

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No.

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Let me see, see attached.

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He edited there and you bring

it up because Vitus on the

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canvas, the magic writers on.

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I never, I'm sorry when I didn't mention

that because I always put the magic,

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but on before and the canvas is bad.

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You see the canvas all by sweat

and do I mix no with that yellow

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and the tour cross color there.

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And I get the kind of happy farm farms.

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Kai.

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There, you see.

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Good.

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So you don't have to

fill it around anymore.

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The next step will be next comes.

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Next.

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First we paint the underbrush,

all the trees in the back and

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then choose a warmer color.

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We use the same.

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Taylor green look, look

how I take it off again.

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Maybe we always should do that

in between Taylor green and

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attach of pressure and blue.

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Make it a bit darker and attach

of Allergan Crimson into that too.

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See that makes it a bit warmer for,

or, and now start off from the highest

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trees we say there is a high tree and

you know, it does sound and trees.

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I am not living there and

I cannot get used to that.

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I think when you live in the IC

car, car country, we have our trees.

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I always think I was pleased.

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I better try and say like that because

what you're used to, I think that's

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the whole thing, but then you have to

paint him sometime the perspective and

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I let him go down, let him go down.

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Nothing was done.

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Nothing was done.

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Then, then that's all.

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I call it background music.

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See it gets slighter, darker, darker,

darker as you come forward with.

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And that's the way you do it,

then fill the whole thing up.

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Now, light will be obvious shown on dark.

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If you have dark, you have light.

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That's a funny talk either

either neither, neither.

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Um, in my classes we have on the zoom much

percentage of color of light in our paint.

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In order to show light,

you have to have dark.

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Then the light shows up.

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Okay.

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I, I just prepared the background

here upside down, downside up, see

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how easy it is next comes next.

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They only campaign on that

because I have to have that dark

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and leave it, leave it like not

a block, then leave it all off.

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Okay.

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I would like to put a bit more dark

in the water, a bit more darker there.

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Okay, good.

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Maybe here eight limbered up a little bit.

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The limit after a little

bit, it became too blocky.

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Tasha yellow would be nice.

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Remember up a little bit.

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There, there, yeah.

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Hey, the next step it'd be a red.

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You have prepared the whole canvas.

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The next step for me, I put

the Palm trees and so it's very

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look like white and yellow.

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I use a smaller brush for this.

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You can use the knife.

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You can use anything if you want,

but a lot of to make it fast here.

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Have one, three Crockett, one, three years

straight, one, three years overlapping

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that three, the, and you just fired

in like that first fired in like that

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next three years.

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The next few there, the next few

days, the next day they're there.

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They're there.

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They're there.

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They're whatever you want.

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again and again, until you have all

the trees you think until you have all

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the things you think the, if you are

closed, if you painted closer, then

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the trees will be bigger and more.

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Uh, you can put more care into that, but

in that distance here, you just see a

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vide tree trunks or light tree trunks.

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no, I have to fill it out

with three trunks there.

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and he wants to see so many anyway.

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Okay.

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There's one there there's one there's

one, one there's one there's one

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that you start getting.

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Life puts the whole thing right

into the water to put it right

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into the water to you see every

day, push it right into the water.

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Yeah.

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Don't be very fussy.

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right into the water there too.

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all right.

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Now the next step will be.

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The next step.

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If you make a mistake as December,

sometime your hand is going like

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this, you see here, I got two trees

there and I got no trees on top.

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Then add the other three right on top.

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I just like to talk about it because in

my classes, when people made a mistake

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or one of my students made a mistake

or God, it was a big riot going on,

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then I say, my God, you made a mistake.

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Fix it up on top.

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And then it's no mistake.

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You cannot make mistakes.

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There's no such thing as making mistakes.

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And then some people are very fussy.

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They think it got to be,

it got to be like that.

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Oh my God.

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And if you really see trees come and go

disappear and that's all it is now, the

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next step I will use my fan brush and I

will, I will put more sunshine in there.

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The, I will highlight

certain spots as Amber.

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There, there you see.

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And with the fan brush

it, it does a good job.

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They dance.

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The sun hits certain

trees harder and less.

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And.

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More and, and just give him just

some sunspots can be on the bottom.

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It can be on top.

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The end of that.

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All of a sudden it comes to life.

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Now you must think that the sun is

behind here and through the leaves

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and branches that pops up here.

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It pops up there that pops

up there, lights up there.

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The lights up bullshit

lies up at three trunk.

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The first at the tree trunks

be a little bit darker.

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Works easy.

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You can have a tree show

in there or there or there.

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They're hiding behind the come

out from behind that brush.

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Yeah.

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And that gives you light that I was on

lights up, whatever you wants to do there.

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See how nice it looks already.

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It's just too much common sense

that whole, that whole painting

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business as so much come scent, you

can work with not come send a few.

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Yeah, no, I better not talk about it.

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You heard a lot of people.

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Everyone has his own ideas about what

one is running the worms over the canvas,

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the other shoveling the bikes over the

canvas, all the ticks, the elephant tail.

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And he smears the canvas up too.

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And there are great artists.

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So whatever you want, whatever

you think is the best.

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Take it.

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Hey Daniel.

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Hi.

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The highlighting here and there.

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Yeah, that's beautiful.

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Okay.

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The next step would be you

put the top on the trees.

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So we were, we were used alizarin,

Crimson, Taylor green, and we just.

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Push it off like this.

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Yeah,

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no, that's what takes time all the

time, you know, just to get that roughly

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in the way you think it should be.

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And did this stems.

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Maybe here one there, one there, um,

you know, I hate to work on things like

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an assembly line that makes it bad,

really, but you have to do it when your

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pain, especially on your pain grapes or.

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uh, okay.

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But anyway, it will come alive.

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It will come to life.

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I think that maybe here we bring

one enough to try to height.

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naturally.

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If we come closer, then we

will have to do something more.

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You can do that.

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There's no problem.

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No problem.

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See, and then you're finished

with all Aldo's top stair

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bang, bang, bang, bang, bang.

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I am not used to this kind of trees,

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but I like to be there.

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just add somewhere other,

wherever behind in front.

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There's one popping up again.

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uh, I'll make it big add there.

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That D because he had close to see,

unless you come close to everything

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was bigger perspective, right?

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Uh, God, or make him beggar.

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No, you can highlight those first.

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We highlight the back the whole

background, yellow sunshine.

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He's on trying but sunshine

in there in the back.

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There, there, little bit there, the

bed pops up here, pops up there.

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see, let us own pop up

forever in the Bush.

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There.

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the louder sunshine comes in there.

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Now we would highlight

us tops on the pond teas.

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Give him a bit sunshine

too, like this, this,

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um, that's just unhidden

there and there I was from the

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sunny side that makes it nice.

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Uh, it was from the sunny side.

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But against the light, light

and light is not too good.

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Try to work it out.

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So this is still shown there.

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Yeah.

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Hey,

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now here you can make it better

shown and against the dark.

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Hey, that makes it nicer.

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So no, if we get finished with

that, that's kind of a thing.

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So the next step I will do, you

don't have to highlight all of them

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because some are in the shed of the

other big tree and, and some not.

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And so you just highlight what you think

it would show better and that's it.

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That said the next step.

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Very B you can, you can use this

brush or you can use the knife.

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Let's use the knife for

that yellow and white.

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And you're on in mighty sand

beach, my dessert and be there

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like that.

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Okay.

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yeah, my descent bitch, yellow and white.

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That's what they use right now.

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yellow and white.

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I'll make it nice vide beach because

we need the other room there.

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Yeah, make it perspective, right?

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Pull it out.

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This vide, as you can, as wide as you can.

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Now that room,

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uh, that.

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no, the next step will be, I use

my fan brush and you put a bit

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more dark and in the background

now here that were dark there.

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Taylor green is a nice,

nice, nice warm color.

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he push it up like that.

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and as you come forward, you can add

a little bit of alizarin Crimson.

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And to that you see it gives you more dark

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How many like this.

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All right.

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And you can, if you want to

bring that a bit more, that same

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color, you can run on the button

in there a little bit like this.

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Have you been making it a bit darker?

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That gives us a better,

better curve there.

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So now we use our big brush and

mighty brush clean wash your brush.

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Sure you have a dry brush

and you pull it down.

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See how you pull it all down.

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Nicely, all the lines

coming down like this.

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And then you just

straightened it out like this

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and all ready.

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You got your sand beach there.

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No the next step be you, you, you

let have some shadow movements,

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dust Pontes they give you shadow

movements on the beach there, and that

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we're bringing out so much more or

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he something like this.

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Yes.

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Something like this.

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Yeah.

257

00:21:22,655 --> 00:21:22,915

Yes.

258

00:21:22,915 --> 00:21:24,125

Something like this.

259

00:21:35,585 --> 00:21:35,825

Yeah.

260

00:21:35,825 --> 00:21:36,335

And you do it.

261

00:21:36,900 --> 00:21:39,420

Over the horn long beach long.

262

00:21:39,420 --> 00:21:44,940

That was, and all that sand has

nice because you have the sun in the

263

00:21:44,940 --> 00:21:50,970

back and the Doris beautiful little

happy shadows over that beach there.

264

00:21:51,750 --> 00:21:53,280

It's still an early morning.

265

00:22:00,440 --> 00:22:00,860

Hey.

266

00:22:05,195 --> 00:22:05,545

yeah.

267

00:22:06,115 --> 00:22:06,375

Yeah.

268

00:22:06,835 --> 00:22:12,365

On the next step, there'll be, you

have a little lazy rave in front of it.

269

00:22:12,725 --> 00:22:15,995

You can use a touch of light there.

270

00:22:16,055 --> 00:22:22,835

It creates a kind of a lazy, sometimes

you see a lazy Valter movements there.

271

00:22:24,275 --> 00:22:24,635

Eh,

272

00:22:30,690 --> 00:22:32,060

That makes it nice.

273

00:22:32,300 --> 00:22:37,550

It's always a nice feeling that little

bit of up and down on the water there.

274

00:22:38,840 --> 00:22:43,850

And they can have a bit more here with

the other Royal in the back there.

275

00:22:50,210 --> 00:22:50,690

SI.

276

00:22:52,965 --> 00:22:55,975

The next step, pure brush everything up.

277

00:22:55,975 --> 00:22:57,855

Do you think it should be?

278

00:23:00,045 --> 00:23:00,975

There would be one, three.

279

00:23:00,975 --> 00:23:01,935

I leave it right.

280

00:23:01,935 --> 00:23:08,085

And the Ferrante by going over, you,

you, I leave a lot of trees in the

281

00:23:08,085 --> 00:23:10,605

back and a lot of come in the front.

282

00:23:10,605 --> 00:23:12,105

Now you see how I do it?

283

00:23:12,405 --> 00:23:13,875

Bang, just certain trees.

284

00:23:13,905 --> 00:23:15,785

You think they should be in front of it?

285

00:23:17,325 --> 00:23:21,075

no, you can see they're standing

behind each other next to each other.

286

00:23:21,075 --> 00:23:23,175

And, and that's the way you do it.

287

00:23:24,885 --> 00:23:28,425

Maybe here, this one we bring in

the front and maybe here a bit more

288

00:23:28,425 --> 00:23:30,075

highlight there, but more highlights.

289

00:23:30,375 --> 00:23:31,335

Just brush it up.

290

00:23:31,815 --> 00:23:32,955

Spend your time.

291

00:23:33,225 --> 00:23:34,335

I don't have the time.

292

00:23:34,335 --> 00:23:35,415

Then you got home.

293

00:23:35,940 --> 00:23:38,850

I have to get that

painting done in time here.

294

00:23:39,330 --> 00:23:40,100

But I did.

295

00:23:40,100 --> 00:23:43,920

Is there, you know, that that, that

will be with other type of trees.

296

00:23:43,920 --> 00:23:44,730

The same thing.

297

00:23:45,270 --> 00:23:48,480

If I have a field, I set my

trees and there I do it the same.

298

00:23:48,650 --> 00:23:55,760

I have one first, the way you saw me doing

it, that means you have a depth of trees.

299

00:23:55,790 --> 00:24:00,980

Now, some is coming up like this and,

and maybe that's one we bring forward to.

300

00:24:02,070 --> 00:24:03,600

Right to the sand beach.

301

00:24:04,290 --> 00:24:07,409

And so if you want, you can

strengthen that a bit more

302

00:24:07,409 --> 00:24:08,790

on the water here and there.

303

00:24:09,780 --> 00:24:14,699

Like this one was a bit too there.

304

00:24:16,800 --> 00:24:17,080

Yeah.

305

00:24:19,699 --> 00:24:22,070

And we got that painting together.

306

00:24:26,600 --> 00:24:28,100

You got that pain together.

307

00:24:29,745 --> 00:24:33,825

And then no time and no

time you have it done.

308

00:24:34,455 --> 00:24:36,555

So I show you a technique.

309

00:24:37,335 --> 00:24:42,545

No, naturally when I paint yes, dry, I

would go over that and, and add whatever.

310

00:24:42,545 --> 00:24:44,254

I think it should be done better.

311

00:24:44,945 --> 00:24:51,065

The, as lot of the things you cannot add

when it's, when it's wet, let that be dry.

312

00:24:51,125 --> 00:24:52,895

And then it's no problem there.

313

00:24:54,514 --> 00:24:55,925

Not to be dry.

314

00:24:56,165 --> 00:24:56,435

No.

315

00:24:56,435 --> 00:24:57,605

Use my big brush.

316

00:24:58,230 --> 00:24:59,700

Cut that out here.

317

00:25:00,720 --> 00:25:04,200

Cause that's the down

and brush it out nicely.

318

00:25:06,450 --> 00:25:07,680

Hey, there we are.

319

00:25:11,100 --> 00:25:17,760

And the happy, happy

beach scene is finished.

320

00:25:18,030 --> 00:25:18,930

You like it?

321

00:25:19,290 --> 00:25:20,850

I thank you for watching me.

End .srt file.

Bill Alexander's The Magic of Oil Painting

Monday, December 14, 2020

UNKNOWN Season, Episode, Palms - AVAILABLE

Bill Alexander's

The Magic of Oil Painting

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