Bill Alexander's

The Magic of Oil Painting

UNKNOWN Season, Episode, Palms (full version) - AVAILABLE

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The suddenly saw his calling.

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That's every man's dream to have

occasion in that wonderful sand

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under those wonderful warm beaches.

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So that's the painting we

would put on the canvas today.

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What you see right there.

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Okay.

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The magic of oil painting

is made possible by a grant.

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From Aaron brothers art March.

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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 now.

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So, uh, space 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 spaced roughly and fired in.

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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 radiant

or what do you call that?

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I forget those names

always have 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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Tell Audrey.

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Now it gets in my mind.

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Oh, you know, when you get older,

you forget, she can't use the paint

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so much, but it is a happy color.

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And you see it here.

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You see there and start off

from the, from the top down.

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Like we do our best as we create

the depth there, but understand

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leaving divide, 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, you edited

there and you bring it up because Vitus

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on the 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 always wet.

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And do I mix no with that yellow

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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You see.

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Good.

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So we don't have to fill around anymore.

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The next half will be next comes.

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Next.

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First we paint the underbrush,

all the trees in the back,

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and I choose a Varma color.

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We use the same Taylor green.

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Look, I look how I take it off again.

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Maybe I should do that in between

Taylor green and attach of pressure and

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blue, make it a bit darker and attach

of Allergan, Clemson into that too.

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See that makes it a bit vArmour for, or,

and now start off from the highest street.

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We say there is a high tree and

you know, does the Saudi 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

con car country, we have our trees.

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I always think I was pleased a better,

I can say like that because what you're

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used to, I think that's the whole thing.

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Okay.

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You have to paint him sometime

the perspective and I let

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him go down, let him go down.

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Nothing was done.

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Nothing we're down there, then that's all.

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I call it background music.

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See it gets slider, darker, darker,

darker as you come forward with.

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And that's the way you do it.

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Then fill the whole thing up.

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Now, light very, 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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V 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 in leave it all over.

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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, dead.

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Okay, good.

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Maybe here.

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Eight limbered up a little bit.

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The limit after a little

bit, it became too blocky.

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That's your yellow would be nice.

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And then back up a little bit.

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There, there, yeah.

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Hey, the next step will be, I already

have prepared the whole canvas.

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The next step for me, I put the Palm trees

and so it will 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 in order to make it fast here.

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Have one, three Crockett, one,

three years straight, one, three

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years overlapping that three.

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The, and you just fire it in like

that first fire in like that.

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next three here.

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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 there.

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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

closer, 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

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a by tree trunks or light tree trunks.

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no, I have to fiddle it

on the 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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fee that you start getting.

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Life puts the whole thing

right into the water to put it

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right into the water to you see

everything, push it 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 day.

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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 I know 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

does the devil have a good job.

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They dank 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, all of

a sudden comes to life.

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Now you must think that the sun is behind

here and through the leaves and branches

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that pops up here, it pops up there.

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It pops up there.

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Nice up there, lights up.

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Bullshit lies up three trunk.

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The first that the tree

trunks be a little bit darker.

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C works easy.

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You can have a tree shown

there or there or there.

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They're hiding behind the come

out from behind that brush there

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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 ones 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 take it.

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Highlighting here and there.

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That's beautiful.

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Okay.

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The next step will be you'll

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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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 the distance.

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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 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 many are finished

with Aldo's top stair

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bang, bang, bang, bang, bang.

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I'm 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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Oh, I'll make it big ad 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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he let us own pop up forever in the Bush.

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There.

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that 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, like this,

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um, that is unhidden there.

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And they're always from the sunny side.

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Eh, 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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See,

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now he can make it better

shown and against the dog.

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Hey, that makes it nicer.

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So no, if we get finished with

that, that 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 our mighty sun beach.

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Uh, my decision they're

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like that.

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Okay.

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yeah, my descent beach, yellow and white.

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That's what I 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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Yeah,

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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 they were dark there.

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Taylor green is a nice,

nice, nice warm color.

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Push it up like that.

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Yeah.

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And as you come forward, you can add a

little bit of Allegiant Clemson into that.

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You see it gives you more dark.

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Okay.

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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 color,

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you can run on the button in there.

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And 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 by the curve there

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So now we use our big brush.

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I mighty brush clean wash your brush.

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Make 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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Hey and all ready?

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You got your sand beach there.

257

00:22:08,310 --> 00:22:17,010

No the next step be you, you, you let

have some shadowed movements, dust PONTIS.

258

00:22:17,010 --> 00:22:21,180

They give you shadow movements on

the beach there, and that we're

259

00:22:21,600 --> 00:22:23,270

bringing out so much more or

260

00:22:27,470 --> 00:22:29,300

he something like this.

261

00:22:37,545 --> 00:22:38,015

Yes.

262

00:22:38,015 --> 00:22:39,375

Something like this.

263

00:22:42,225 --> 00:22:42,465

Yeah.

264

00:22:44,465 --> 00:22:44,715

Yes.

265

00:22:44,715 --> 00:22:45,905

Something like this.

266

00:22:57,395 --> 00:22:57,635

Yeah.

267

00:22:57,635 --> 00:22:58,145

And you do it.

268

00:22:58,710 --> 00:23:01,230

Over the horn long beach long.

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That was, and all that sand has

nice because you have the sun in the

270

00:23:06,750 --> 00:23:12,780

back and the Doris beautiful little

happy shadows over that beach there.

271

00:23:13,560 --> 00:23:15,090

It's still an early morning.

272

00:23:22,250 --> 00:23:22,700

Hey.

273

00:23:26,910 --> 00:23:27,300

Yeah.

274

00:23:27,710 --> 00:23:29,760

Yeah, we're on the next step.

275

00:23:29,790 --> 00:23:34,170

There'll be you have a little

lazy reef in front of it.

276

00:23:34,530 --> 00:23:37,800

You can use a touch of light there.

277

00:23:37,860 --> 00:23:44,640

You create a kind of a lazy, sometimes

you see a lazy Valter movements there.

278

00:23:46,080 --> 00:23:46,440

Eh,

279

00:23:52,495 --> 00:23:53,105

That makes sense.

280

00:23:53,135 --> 00:23:53,885

Nice.

281

00:23:54,095 --> 00:23:59,345

It's always a nice feeling that little

bit of up and down on the water there

282

00:24:00,635 --> 00:24:05,675

and they can have a bit more here,

maybe the other Royal in the back there.

283

00:24:12,875 --> 00:24:13,265

No.

284

00:24:14,774 --> 00:24:19,665

The next step, pure brush everything

up to why you think it should be.

285

00:24:21,855 --> 00:24:22,784

There would be one, three.

286

00:24:22,784 --> 00:24:23,745

I leave it the right.

287

00:24:23,745 --> 00:24:29,895

And the Ferrante by going over, you,

you, I leave a lot of trees in the

288

00:24:29,895 --> 00:24:32,415

back and a lot of coming in the front.

289

00:24:32,415 --> 00:24:33,915

Now you see how I do it?

290

00:24:34,215 --> 00:24:35,685

Bang, just certain trees.

291

00:24:35,715 --> 00:24:37,595

You think they should be in front of it?

292

00:24:39,135 --> 00:24:42,885

no, you can see they're standing

behind each other next to each other.

293

00:24:42,885 --> 00:24:44,985

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

294

00:24:46,695 --> 00:24:50,235

Maybe here, this one we bring in

the front and maybe here a bit more

295

00:24:50,235 --> 00:24:51,885

highlight there, but more highlights.

296

00:24:52,185 --> 00:24:53,145

Just brush it up.

297

00:24:53,415 --> 00:24:54,765

Spend your time.

298

00:24:55,035 --> 00:24:56,145

I don't have the time.

299

00:24:56,145 --> 00:24:57,254

Then you got home.

300

00:24:57,765 --> 00:25:00,615

I have to get that

painting done in time here.

301

00:25:01,140 --> 00:25:02,480

But I D is there.

302

00:25:02,490 --> 00:25:05,730

See, you know, the depth that

will be with other type of trees.

303

00:25:05,730 --> 00:25:06,540

The same thing.

304

00:25:07,080 --> 00:25:09,390

If I have a field, I

set my trees in there.

305

00:25:09,390 --> 00:25:10,320

I do it the same.

306

00:25:10,320 --> 00:25:13,320

Why have one first?

307

00:25:13,320 --> 00:25:17,490

I, the why you saw me doing it, that

means you have a depth of trees.

308

00:25:17,930 --> 00:25:22,790

Some is coming up like this and, and

maybe that's one, we bring forwards too.

309

00:25:23,880 --> 00:25:25,410

Right to the sand beach.

310

00:25:26,100 --> 00:25:30,600

And so if you want, you can strengthen it

a bit more on the water here and there.

311

00:25:31,590 --> 00:25:34,710

Like this one was a bit too.

312

00:25:36,060 --> 00:25:36,510

Yeah.

313

00:25:41,180 --> 00:25:41,270

Okay.

314

00:25:41,510 --> 00:25:43,880

And we got that painting together.

315

00:25:48,410 --> 00:25:49,910

You got that pain together.

316

00:25:51,554 --> 00:25:55,635

And then no time and no

time you have it done.

317

00:25:56,264 --> 00:25:58,365

So I show you a technique.

318

00:25:59,145 --> 00:26:04,355

No, naturally when that painting is dry, I

would go over that and, and add whatever.

319

00:26:04,355 --> 00:26:06,064

I think it should be done better.

320

00:26:06,754 --> 00:26:10,804

The it's not the things you cannot

add when it's, when it's wet.

321

00:26:11,615 --> 00:26:12,875

Let that be dry.

322

00:26:12,935 --> 00:26:14,705

And then it's no problem there.

323

00:26:16,324 --> 00:26:17,735

Not to be dry.

324

00:26:17,975 --> 00:26:19,415

Now I use my big brush.

325

00:26:20,010 --> 00:26:21,510

Cut that out here.

326

00:26:22,530 --> 00:26:26,010

Cause that's the down

and brush it out nicely.

327

00:26:28,260 --> 00:26:29,460

Hey, there we are.

328

00:26:32,910 --> 00:26:39,570

And the happy, happy

beach scene is finished.

329

00:26:39,840 --> 00:26:40,710

You like it.

330

00:26:41,100 --> 00:26:42,629

I thank you for watching me.

331

00:27:03,175 --> 00:27:08,274

In response to overwhelming viewer

requests, K O C E has prepared a

332

00:27:08,305 --> 00:27:12,024

personal guide to bill Alexander's

magic of oil painting three.

333

00:27:12,595 --> 00:27:16,825

To receive your copy of this instructional

book on bill Alexander's painting

334

00:27:16,825 --> 00:27:20,215

technique, please send $8 to magic.

335

00:27:20,245 --> 00:27:25,135

Three post office box to seven

Oh three Huntington beach,

336

00:27:25,165 --> 00:27:28,254

California nine two six four seven.

337

00:27:33,140 --> 00:27:38,000

The magic of oil painting is made possible

by a grant from Aaron brothers art marts.

End .srt file.

Bill Alexander's The Magic of Oil Painting

Monday, December 14, 2020

UNKNOWN Season, Episode, Palms (full version) - AVAILABLE

Bill Alexander's

The Magic of Oil Painting

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