Bill Alexander's

The Magic of Oil Painting

UNKNOWN Season, Episode, Sunlight Mountain - AVAILABLE

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Hi, I'm Diane, Andre.

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And I'm here today to teach you

some of the keys to the technique

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of the Alexander process.

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Now, one of the things I'll be

doing is taking you step by step,

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and I'm going to be picking just

a couple of things I really want

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to concentrate on in this picture.

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One of the biggest things we're

going to be playing with is

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color, color, and technique.

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Okay.

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We're going to bring it,

start bringing some sunshine.

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We're going to move from light.

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To a medium light, into a dark,

really plain value of color and

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as, and some mountain techniques.

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And that's what I want

you to concentrate on.

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Now, what I'm going to do is I'm

going to give you my colors here

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in the beginning, so that you'll

know what we'll be working with.

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I'll be working with some titanium, white,

some Indian yellow, and this will call

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my number one mix, which is a lizard

Crimson with just a touch of SAP green.

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Some pressure and blue.

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And this here is a gray mix,

which is equal parts of Elysium,

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Crimson, and theolo green.

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And I also have some SAP green.

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Okay.

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Now we'll start by presenting.

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We've already presented the

magic white to the canvas.

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It's already tin and be sure you cover

all your canvas and working with that.

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Now, one of the biggest things I want you

to learn when you're priming your canvas

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with the magic white is how to get it on.

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Perfect.

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So once you have it on, I want

you to test that by tapping

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your face or against the canvas.

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And notice the fingerprint is a

nice fingerprint full of paint,

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but it's not gooey on there.

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It's pretty dry canvas.

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So let's tend to color.

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Now I take my two and a half inch brush

and I just touch the color in there.

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I'm going to start with my Indian, yellow.

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With the touch of color.

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And I'm going to come up in here with

a lot of pressure, lot of pressure,

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move that yellow into the white.

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As you can see what's happening here

with that white on there, I have all

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these different values of work and

forming with just a few strokes in there.

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So the key to tense is

a little bit of paint.

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Lot of pressure.

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Look at the movement of that.

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Brush a lot of pressure, lot of pressure.

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Mix it in with the whites

it's mixing on my canvas.

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I don't have to mix

all that ahead of time.

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Okay.

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Clean and dry that brush.

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Now at the bottom of this, can I

have a little screen and I'm pulling

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that brush across the screen.

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So that allows the paint pull out of

that brush, shake it out, dry it up.

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And I'm all set to go.

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Be sure you dry that brush.

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Okay, let's take that

first mix I gave you.

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Remember it's Liz and Crimson with just

a touch of SAP, green, little bit of

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paint on my brush, and I'm going to

move it into the yellow little bit.

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What I want you concentrating on though,

is the pressure I'm putting on this brush.

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Remember, I'm going to teach you the keys

to mastering this technique, a little

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bit of paint and a lot of pressure.

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Mix it in with that yellow a little bit.

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I've been through here, a lot of

pressure, move it down, move it down.

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Okay.

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A little bit of paint, a lot of pressure.

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Now let's go into that second mix I

gave you, which is equal parts that will

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lose in Crimson and fail green, touch

a paint lot of pressure on a real gray

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color over in here that a nice gray.

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I'm really toning my color down

in this particular painting.

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And I'm not using, like, I could

have used straight Elysium, but

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I wanted to live more grayer.

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So I added green, like, so a lot of

pressure growl it in there, the darker you

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want it, but it's the amount of pressure

you use, not the amount of paint you

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put on your canvas, bringing a little

bit of that in here and to know her.

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Okay.

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Now at the same time, you

can take clean dry brush.

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I changed my mind here a little bit.

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We're going to throw some

water down in the bottom.

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So I just want you to pick up, I

want to show you a tense, tense.

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This is important.

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Your tents are important.

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Little paint, lot of pressure.

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Move it in there.

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Take the second color, a little

bit of that pink color we

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mixed and work it in there.

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Remember, your water is

like a reflection today.

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All it's going to be reflecting is a sky.

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So we'll take our sky

colors and move it in there.

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And what's it.

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Clean, dry brush.

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I'm sneaky.

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I keep two or three of these brushes, so

I don't always have to keep cleaning them.

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It gives me more time to paint.

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We'll a little bit of that in there and

a little on this side, just to show some

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reflection of color, like a saw, okay.

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Clean, dry brush,

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clean dry brush.

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Now, remember when I was saying all

I wanted you to see here was tints.

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The purpose for that is because we're

going to play up a lot of cloud movement.

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And that's one of the biggest things

I want you to learn today is the

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load of this brush and the movement

of this brush so that you can have

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those beautiful clouds at any time.

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I'm not going to concentrate on

the pain so much as the technique,

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pull your brush, both sides.

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Like so always load your brush this

way when you're using it titanium

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white and a touch of Indian yellow.

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Now, what I want you to watch

is the movement of this brush.

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Look at that.

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I'm letting it bounce all over that

canvas, bounce it in there, growl it in.

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If I painted the picture and tried

to paint a cloud, all I'm going to

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get is this over and over and over

and over and over and over door.

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Look at that.

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I wore it out.

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So watch the brush, watch the brush

titanium white touch of Indian yellow.

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Work it in there.

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Now watch I'll do the slow motion hit.

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Lot of pressure hit bounce, bounce.

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Look at the bristles, move, move

the bristles around like, so maybe

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at the bottom you can lightly touch

to blend that out a little bit.

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Lightly touched where you

don't want it to show a line.

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Like, so see the movement

we're getting in there.

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Play of light.

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Okay.

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Do it again.

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Touch of Indian, yellow titanium,

white, or look at the authority.

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Look how I'm holding this brush.

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I'm holding it real close to the bristles.

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So when I hit the canvas,

It's going to bounce for me.

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I've got a lot of authority, a

lot of pressure, move it around,

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move it around, let it bounce.

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Now the beauty of this is that

I have a stiff bristle fan brush

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and this paint is extremely thick.

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So all I have to do is let the brush

and the paint do the work for me.

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All I have to do is just know

that I'm going to be losing.

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And let it play.

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Let it play.

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Not a play.

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Oh, what a gorgeous day to paint.

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I love when I can come

outside like this and paint.

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Okay.

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Same thing.

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I want you to take some titanium white.

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I touch of that red mix.

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Just a touch, little touch.

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We'll do you come back up in here?

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Okay.

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Get some authority.

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This is how it has a little pink in it.

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I showed a little pink moving up in here,

little pink, look at the player, color.

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Look at those clouds, starting to

come out for me, moving in, move

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it around, maybe bounce something

up in there, back in and around.

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Don't get so hung up on.

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It has to be like, so that's

when you start, make, try

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and trying to make a stroke.

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Remember the Alexander

technique was designed.

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So every stroke was perfect.

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No matter how it looks, dah, dah, ah,

growl it in there, growl it in there.

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Does it matter?

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Just get some movement, get some movement.

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Oh, here, there.

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Flip that up, then throw it down.

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Like, so down into nowhere, down into

nowhere, play a light up in through here.

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A little more play, you know, some of

these keys that I will be showing you

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in certain different pains in each pain

will be concentrated in on a couple.

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Those are the keys to

mastering that technique.

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You know, a lot of my students have said,

well, gee, you know, show me that again.

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Show me that again, slow show me

in slow motion so I can see that.

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So we really need to concentrate,

not so much on the painting, but

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certain things that are going on.

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Look at that.

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Look at the pull of that paint.

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Just let it happen down into shadow, down

into shadow a little bit more of that.

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And we're ready to go

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a little more pink up in here.

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Not so much in the dark,

not so much in the dark.

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Look at the movement.

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Relax.

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If you get two tenths, what I want

you to do is just turn away from the

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canvas and just start hitting it.

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Wherever the paint goes.

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That's great.

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Okay.

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Now, if I was just look at this painting

when I'm through, and I really want you

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to keep this in mind, I wouldn't come back

up in here and it would not look the same

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if I painted it a hundred times, because

creative, when you're into your creative

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powers, you want that looseness the

effect of something new, even with color.

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I try not to concentrate too

much on color because I want

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the freedom to whatever it is.

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It's perfect.

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No matter what color I go for.

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It's perfect.

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And that's where w where I want you.

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I want you to just get into

the creativity part of it.

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Not so much the technique.

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Okay.

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Like, so, okay.

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Okay.

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The technique and the creativity

go together, hand in hand.

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Everything else is up to you now.

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Big, key clean, dry brush.

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And what I'm going to do is I'm

going to go up to the canvas.

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I'm going to hypnotize.

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Okay.

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Hypnotize, meaning I

use a very light touch.

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I'll do this slow motion and see that

just a few hairs are hitting that canvas.

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Just a few hairs, very soft.

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Look at that slow motion, slow Mo.

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Look at how it's softening that up.

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This brush was made to open up.

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The way I want it to, so

I get that nice blend.

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Look at that.

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Nice blend.

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Just a few.

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You hear us?

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Okay.

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Pick up the speed a little bit.

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Look at the blend though.

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Look at this part of the canvas

compared to this part, the canvas,

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I have a lot more, it's more

subdued over in here, more rough.

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And because that paint is so thick,

it stays right where I put it.

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So then I gently blend it.

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It sticks.

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It stays, stays and sticks.

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Okay.

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A little more modern up in here.

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There we go.

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Yeah.

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Look at that.

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Look at the values and

the color from light.

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Look at that punch of light

right over into the dark.

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And that's what you're looking for.

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Okay.

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Let's do one of those

mighty mountains key.

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And this is another one of the biggest

things I want to teach you in this lesson.

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That's how to load this

knife and how to use it.

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I'm going to take that second color

I mixed, which is equal parts of

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Elysium Crimson, and Tayloe green.

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Now watch I'm going to pull

my paint flat on my palette.

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And every time I load this,

every time I load my knife,

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I pull it flat on my palette.

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We cleaned this off, so you can see

this now in a straight upper position.

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I sliced through the paint,

pulling it a little bit towards me.

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Okay.

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Look at that nice load of paint.

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Okay.

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See how that text or that paint stands

up away from the knife so that when

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I come up to the canvas, I can get it

to do exactly what I want it to do.

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Okay.

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Now watch the pressure I use on this

and I'm pulling the knife to my left

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00:13:07,770 --> 00:13:14,500

as scraping, as I go along to my left,

scraping as a goals goes along that

251

00:13:15,570 --> 00:13:17,370

look at that scrape off the excess.

252

00:13:18,465 --> 00:13:22,275

Scrape off, fill it in.

253

00:13:22,875 --> 00:13:23,355

Okay.

254

00:13:23,535 --> 00:13:25,455

Remember, let me show you

that one more time here.

255

00:13:26,685 --> 00:13:28,695

Pull the pin straight up position.

256

00:13:28,935 --> 00:13:29,925

Slice it in there.

257

00:13:30,045 --> 00:13:33,045

You got a nice lift of paint

and you're ready to go.

258

00:13:34,275 --> 00:13:34,725

Okay.

259

00:13:34,755 --> 00:13:36,315

Now watch the knife though.

260

00:13:36,705 --> 00:13:37,515

Look at this.

261

00:13:37,515 --> 00:13:38,355

Look at the knife.

262

00:13:40,005 --> 00:13:42,645

Look how it's coming off in

the corner of that knife.

263

00:13:44,115 --> 00:13:46,065

Look at the corner of that

knife, I'll do that slow.

264

00:13:46,065 --> 00:13:52,425

So you can see it, the forerunner

of the knife and just fill it

265

00:13:52,425 --> 00:13:56,795

in a little bit down here, feel

it in filling, in filling in.

266

00:14:01,065 --> 00:14:03,495

So let's put a little

guy right up in here.

267

00:14:04,815 --> 00:14:07,335

These mountains are close, close to me.

268

00:14:07,335 --> 00:14:10,035

So I kept the face color, very dark.

269

00:14:11,714 --> 00:14:12,464

Very dark.

270

00:14:14,385 --> 00:14:19,094

Now we're going to take and be

sure we take and take off all

271

00:14:19,094 --> 00:14:22,755

the excess paint, all the excess

paint and what you can see here.

272

00:14:23,505 --> 00:14:28,064

And this is where most of my students

always have a problem when they go back

273

00:14:28,064 --> 00:14:29,505

and they're painting on their paintings.

274

00:14:30,255 --> 00:14:32,745

When you're close up on this,

what you can see is you can get,

275

00:14:32,745 --> 00:14:34,454

see scrape marks in the canvas.

276

00:14:34,515 --> 00:14:35,834

Don't try to get rid of those.

277

00:14:35,834 --> 00:14:39,645

If you do you land on paint and you

do not want to build up of paint.

278

00:14:41,265 --> 00:14:44,985

Don't want any look, I can even take

my knife and go straight across there

279

00:14:45,435 --> 00:14:47,355

and not pick up any excess paint.

280

00:14:48,645 --> 00:14:52,845

The purpose for that is, is when

I take a clean, dry brush and

281

00:14:52,845 --> 00:14:54,255

I'm going to I'll do the slow.

282

00:14:55,275 --> 00:14:59,235

Couple of hairs are touching the

dark underneath and the rest of it is

283

00:14:59,415 --> 00:15:01,035

picking up the magic white underneath.

284

00:15:02,055 --> 00:15:03,045

Okay, slow motion.

285

00:15:03,135 --> 00:15:06,165

Your hairs are touching the rest

of it's picking up the magic, give

286

00:15:06,165 --> 00:15:11,925

it some pressure and you get an

automatic blend, automatic land.

287

00:15:11,925 --> 00:15:12,765

Pull it down a little bit.

288

00:15:12,765 --> 00:15:14,895

They're automatic lands.

289

00:15:14,955 --> 00:15:16,935

You got some nice little

fog rolling in there.

290

00:15:18,405 --> 00:15:20,745

It's working with that

magic white underneath

291

00:15:24,575 --> 00:15:27,545

beauty of that magic white is so

that you're not having to create

292

00:15:27,875 --> 00:15:29,495

the mist, you know, let it happen.

293

00:15:29,834 --> 00:15:33,735

The only thing you need to concentrate

on is how to use the brush.

294

00:15:33,824 --> 00:15:35,865

How much pressure is she

putting on that brush?

295

00:15:36,314 --> 00:15:37,245

And what's happening.

296

00:15:37,275 --> 00:15:40,185

Remember a few hairs are touching

the dark and the rest of it's

297

00:15:40,185 --> 00:15:41,775

picking up the magic I know needs.

298

00:15:42,735 --> 00:15:47,194

And you create the illusion

of fog, like a soft, okay.

299

00:15:48,515 --> 00:15:48,635

Yeah.

300

00:15:48,665 --> 00:15:48,875

Yeah.

301

00:15:49,355 --> 00:15:51,964

Let's take and put some

highlights on those mountains.

302

00:15:52,265 --> 00:15:54,814

Now I'm going to play the color

we've used up here on the mountains.

303

00:15:54,814 --> 00:15:55,175

Also.

304

00:15:55,175 --> 00:15:57,485

I want to carry it through,

into the mountains.

305

00:15:58,725 --> 00:16:01,515

So, what I've done is I've taken

that red mix that I gave you,

306

00:16:02,115 --> 00:16:06,285

and I've made two values value,

meaning take a color and add white.

307

00:16:06,345 --> 00:16:10,064

And as you can see, I added

less white to this one.

308

00:16:10,125 --> 00:16:12,135

This is why it was just

a touch of that color.

309

00:16:13,155 --> 00:16:14,954

Now this is for my sunny

side of the mountain.

310

00:16:15,735 --> 00:16:20,204

And on the shadow side, I took

the number two color, add a little

311

00:16:20,204 --> 00:16:24,045

bit of pressure and blue and made

two values, a medium and a light.

312

00:16:25,005 --> 00:16:26,564

Now again, let's tick.

313

00:16:27,569 --> 00:16:28,949

That load of that paint.

314

00:16:30,030 --> 00:16:32,490

This is where that the

load of that pink comes in.

315

00:16:32,490 --> 00:16:34,980

So nicely you have that lift of pain.

316

00:16:35,730 --> 00:16:39,900

Now what's happening is I'm gently,

gently, gently, gently, gently, gently,

317

00:16:39,930 --> 00:16:44,250

gently touching that mountain underneath.

318

00:16:45,689 --> 00:16:50,010

And that load of paint is pulling

itself off of the knife for me.

319

00:16:50,910 --> 00:16:51,420

Okay.

320

00:16:52,065 --> 00:16:53,265

Look at this, no pressure.

321

00:16:53,295 --> 00:16:54,525

Just guide it down.

322

00:16:54,705 --> 00:17:00,495

It almost fallen out of my hand, pulling

in, pulling in gentle, gentle, gentle.

323

00:17:00,495 --> 00:17:03,165

If I push that, let me show

you if I push this, this is

324

00:17:03,165 --> 00:17:04,454

exactly what I'm going to get.

325

00:17:04,725 --> 00:17:05,204

Okay.

326

00:17:05,535 --> 00:17:06,405

You don't want that.

327

00:17:07,245 --> 00:17:08,415

You want those breaks.

328

00:17:08,415 --> 00:17:12,435

You want to show those crevices, those

crannies, and then the people will

329

00:17:12,435 --> 00:17:16,485

say, ah, she paid, it took her so

long to get all those breaks in there.

330

00:17:17,175 --> 00:17:18,555

No, that the paint.

331

00:17:19,919 --> 00:17:21,300

The paint and the knife.

332

00:17:21,300 --> 00:17:22,199

Do the work for you.

333

00:17:22,469 --> 00:17:23,669

Let it happen for you.

334

00:17:24,030 --> 00:17:28,469

This technique was designed to

let it happen for the artist.

335

00:17:28,500 --> 00:17:29,159

Let it happen.

336

00:17:29,159 --> 00:17:29,969

Look at the break.

337

00:17:30,030 --> 00:17:31,020

Ah, okay.

338

00:17:32,070 --> 00:17:32,879

No pressure.

339

00:17:32,939 --> 00:17:33,810

No pressure.

340

00:17:34,439 --> 00:17:36,540

All you need to know is

how to hold the knife.

341

00:17:37,409 --> 00:17:38,399

No pressure.

342

00:17:40,219 --> 00:17:40,790

Easy.

343

00:17:40,790 --> 00:17:41,090

Does it?

344

00:17:42,110 --> 00:17:42,439

Okay.

345

00:17:43,159 --> 00:17:44,030

Light touch.

346

00:17:44,040 --> 00:17:45,830

Look at the, how I'm holding this knife to

347

00:17:49,935 --> 00:17:51,015

let it happen.

348

00:17:52,505 --> 00:17:52,775

Okay.

349

00:17:52,775 --> 00:17:56,135

Let's pick up a little lighter of

that value and just in a few places

350

00:17:56,135 --> 00:17:59,825

hit here and here, I'm going to show

you in this particular mountain,

351

00:17:59,825 --> 00:18:04,895

how to layer your paint because

this paint is so extremely thick.

352

00:18:05,105 --> 00:18:06,365

You can do those kinds of fun.

353

00:18:06,455 --> 00:18:08,135

Thanks, dada.

354

00:18:08,165 --> 00:18:08,825

Look at the pool.

355

00:18:08,885 --> 00:18:09,365

Look at the pool.

356

00:18:09,455 --> 00:18:12,035

Little highlights, little

highlights, even in shadow.

357

00:18:12,035 --> 00:18:14,615

We'll give it a little

highlight, little shadow.

358

00:18:14,615 --> 00:18:14,945

Good.

359

00:18:14,975 --> 00:18:16,055

Some highlight that.

360

00:18:18,315 --> 00:18:24,365

Let all those colors show through

done like this, like this little pool.

361

00:18:24,455 --> 00:18:24,845

Look at that.

362

00:18:24,905 --> 00:18:25,715

Oh, look at that.

363

00:18:25,715 --> 00:18:26,135

Break

364

00:18:31,665 --> 00:18:32,825

down little pool.

365

00:18:33,215 --> 00:18:33,875

Look at the moon.

366

00:18:33,905 --> 00:18:38,764

Look at the depth you get in the

break of that within seconds.

367

00:18:39,395 --> 00:18:40,085

Okay.

368

00:18:40,445 --> 00:18:45,215

Now clean that knife, because now

we're going to go into your hot.

369

00:18:46,200 --> 00:18:51,149

Sunny side of the mountain, I'm going

to take a pink color loaded knife.

370

00:18:51,179 --> 00:18:54,919

Get the brick that the lift

of that paint come up in here.

371

00:18:54,919 --> 00:18:58,550

And we're going to add a

pinkish color, a pinkish color.

372

00:18:59,870 --> 00:19:02,419

Remember, this is your first

color for step on here.

373

00:19:03,350 --> 00:19:05,600

It'll be a little bright until

you're out of the colors over it.

374

00:19:06,630 --> 00:19:07,590

Look with the break though.

375

00:19:07,860 --> 00:19:10,080

Let's not concentrate

so much on the color.

376

00:19:10,260 --> 00:19:11,820

Let's concentrate on the technique.

377

00:19:11,820 --> 00:19:12,270

Look at that.

378

00:19:12,390 --> 00:19:15,510

I'm doing this slow motion

because I know you're out there

379

00:19:15,510 --> 00:19:16,650

painting along with me, huh?

380

00:19:17,010 --> 00:19:17,400

Yeah.

381

00:19:17,670 --> 00:19:19,380

Good, good, good, good.

382

00:19:19,380 --> 00:19:20,010

The breaks.

383

00:19:20,700 --> 00:19:22,560

I want to teach you why it's happening.

384

00:19:23,850 --> 00:19:25,680

I'm here to teach you why

it's happening for you.

385

00:19:26,700 --> 00:19:28,320

It's not because I have a spot.

386

00:19:28,380 --> 00:19:29,550

Anything special here.

387

00:19:32,390 --> 00:19:34,880

It's the way you let it happen.

388

00:19:36,210 --> 00:19:37,710

The movement of the idea.

389

00:19:39,450 --> 00:19:42,870

Maybe bring that over there

a little bit, like a soul

390

00:19:45,960 --> 00:19:46,800

back up in here.

391

00:19:46,830 --> 00:19:50,700

Remember I say the knife

never touches the canvas.

392

00:19:50,700 --> 00:19:51,360

I hope I'm doing that.

393

00:19:51,360 --> 00:19:52,260

Slow enough for ya.

394

00:19:53,610 --> 00:19:56,850

It's the paint that touches the

canvas and pulls itself off.

395

00:19:58,260 --> 00:20:02,100

Like so little up in here left there.

396

00:20:03,790 --> 00:20:05,310

Little that'll in there a little down.

397

00:20:05,780 --> 00:20:06,140

Okay.

398

00:20:06,150 --> 00:20:07,790

Let's take the second value of that.

399

00:20:07,790 --> 00:20:16,100

The lighter value and do the same thing,

bringing that in, in and around some

400

00:20:16,100 --> 00:20:20,480

sunshine, letting some of that other

colors show through, look at the Briggs.

401

00:20:20,510 --> 00:20:23,420

Look how we can layer that paint layer.

402

00:20:23,420 --> 00:20:28,010

The paint, because one paints

pulling from the other one paint is

403

00:20:28,010 --> 00:20:30,950

pulling from the other, like, so.

404

00:20:32,505 --> 00:20:36,825

And get excited when you get

those breaks like this, and

405

00:20:36,825 --> 00:20:38,385

it's a, it's a natural for you.

406

00:20:39,345 --> 00:20:40,455

It's a natural for you.

407

00:20:41,805 --> 00:20:42,255

Okay.

408

00:20:42,855 --> 00:20:43,845

It's a natural free.

409

00:20:44,835 --> 00:20:52,365

So moving in there, like, so let it

break and a little more highlight

410

00:20:52,365 --> 00:20:57,345

up in here on this side, let it

sing, let it dance, let it dance.

411

00:20:59,535 --> 00:21:00,915

Like, so now.

412

00:21:01,530 --> 00:21:04,260

Now I think, you know, once you

get the keys to mastering that

413

00:21:04,260 --> 00:21:09,060

technique, you can put your, any color

mountains in, in color, anything.

414

00:21:09,510 --> 00:21:09,780

Okay.

415

00:21:09,780 --> 00:21:10,890

Let's take that dark mix.

416

00:21:10,890 --> 00:21:16,530

I had you make and add some SAP

green about one part SAP green to

417

00:21:16,530 --> 00:21:19,160

about one, one half part of the dark.

418

00:21:20,060 --> 00:21:20,300

Okay.

419

00:21:20,300 --> 00:21:21,530

Load that brush.

420

00:21:22,910 --> 00:21:26,840

Come on up in here and we're going to

put some trees, lightly touching the

421

00:21:26,840 --> 00:21:29,120

brush, lightly touching the brush.

422

00:21:32,835 --> 00:21:36,915

Why don't we touch in the

brush, move it in, move it in.

423

00:21:39,195 --> 00:21:39,735

Okay.

424

00:21:39,735 --> 00:21:40,515

Let's get it in.

425

00:21:42,465 --> 00:21:43,305

Spit it in there.

426

00:21:43,675 --> 00:21:46,385

Remember it takes dark to create light.

427

00:21:46,415 --> 00:21:48,845

So I'll start with putting

my dark skin first.

428

00:21:51,245 --> 00:21:53,555

I'm not going to concentrate

too much on down here.

429

00:21:55,530 --> 00:22:00,930

Because we're gonna get, uh, some

nice movement and color anyway, but

430

00:22:00,930 --> 00:22:04,770

the lessons I wanted you to learn

today in this particular pain was

431

00:22:04,770 --> 00:22:09,900

the use of that fan brush the use

of your tint, the use of color.

432

00:22:13,130 --> 00:22:16,790

And once you can learn like that pallet

knife, like I showed you, you're going

433

00:22:16,790 --> 00:22:20,990

to get it all to happen with you, let the

paint and the knife do the work for you.

434

00:22:22,130 --> 00:22:22,460

Okay.

435

00:22:22,460 --> 00:22:23,480

Bring a little of this in.

436

00:22:24,885 --> 00:22:29,115

Yeah, let's just make some

sort of painting out of this.

437

00:22:29,385 --> 00:22:30,615

The lesson was good.

438

00:22:31,395 --> 00:22:32,685

Was that helpful for you today?

439

00:22:32,774 --> 00:22:33,344

That's good.

440

00:22:34,094 --> 00:22:34,485

Okay.

441

00:22:34,514 --> 00:22:35,925

Let's put a little more dark down in here.

442

00:22:37,094 --> 00:22:38,745

Highlights or put some highlights.

443

00:22:38,745 --> 00:22:40,844

Yeah, take the color.

444

00:22:40,844 --> 00:22:47,294

Any color, pick up some yellow,

maybe a touch of green and white.

445

00:22:49,514 --> 00:22:51,225

Loosen up a little bit with the magic.

446

00:22:51,645 --> 00:22:52,665

Come up in here.

447

00:22:52,754 --> 00:22:53,385

Highlight.

448

00:22:54,554 --> 00:22:55,965

Highlight highlight highlight.

449

00:22:56,925 --> 00:23:00,875

Remember the dark underneath

was thick tick, tick tick.

450

00:23:01,955 --> 00:23:05,014

The highlights I'm using is a lot

thinner cause I'm tending to down

451

00:23:05,014 --> 00:23:06,544

with a little bit of magic white.

452

00:23:07,504 --> 00:23:08,735

So there's an automatic pool.

453

00:23:08,735 --> 00:23:10,205

That's why you have to have a thick paint.

454

00:23:10,415 --> 00:23:14,284

First start with this thick,

thick, thick, the thin is pulling

455

00:23:14,284 --> 00:23:20,165

from the thick you're working two

consistencies, two consistencies.

456

00:23:20,195 --> 00:23:21,725

You can't do it with one consistency.

457

00:23:22,950 --> 00:23:27,060

A little more moving up in here, a

little more movement up in there.

458

00:23:28,260 --> 00:23:31,950

Just play some things,

just play some things.

459

00:23:32,960 --> 00:23:33,320

Okay.

460

00:23:34,399 --> 00:23:35,570

You see him to your advantage.

461

00:23:35,600 --> 00:23:36,950

I'm giving you look at this.

462

00:23:39,110 --> 00:23:41,810

Thickers underneath the magic.

463

00:23:41,810 --> 00:23:46,429

White has the highlights has a little

magic white in it, and it's pulling for

464

00:23:46,429 --> 00:23:48,230

me bringing something up in through here.

465

00:23:49,470 --> 00:23:55,260

Bowling for me, maybe a little something

down into shadow, down into shadow.

466

00:23:57,980 --> 00:23:58,790

Load the brush.

467

00:23:58,820 --> 00:24:02,840

Look at the pain I have on

that brush loaded, loaded.

468

00:24:08,120 --> 00:24:08,570

Okay.

469

00:24:08,570 --> 00:24:09,379

Light touch.

470

00:24:09,410 --> 00:24:10,820

Let one painful than the other.

471

00:24:16,730 --> 00:24:21,620

One painful from the other, bring it

in, bring it in, bring it in light.

472

00:24:21,620 --> 00:24:22,970

Of course it's coming from the right.

473

00:24:26,120 --> 00:24:27,290

A little stomach in there.

474

00:24:29,450 --> 00:24:29,900

Okay.

475

00:24:31,430 --> 00:24:34,430

A little something right up in

here, bringing a little more

476

00:24:34,430 --> 00:24:35,450

movement up in through there.

477

00:24:36,780 --> 00:24:38,340

Down in through there a little bit.

478

00:24:38,340 --> 00:24:40,139

Look at this color, look at

how I'm playing this color.

479

00:24:40,590 --> 00:24:45,090

Miguel, touch red, but

the key is do magic.

480

00:24:45,480 --> 00:24:50,879

The magic white, let it fall and get those

automatic pulls when you use it like that.

481

00:24:53,770 --> 00:24:54,690

We'll set him up in there.

482

00:24:55,490 --> 00:24:55,790

Okay.

483

00:24:55,790 --> 00:24:59,600

I want you to take some magic

weight, put on your palette,

484

00:24:59,650 --> 00:25:01,430

maybe a touch of that red mix.

485

00:25:02,060 --> 00:25:03,200

Mixed it in a little bit.

486

00:25:04,095 --> 00:25:04,295

Thanks.

487

00:25:04,295 --> 00:25:05,385

So loose paint.

488

00:25:06,765 --> 00:25:07,215

Okay.

489

00:25:07,305 --> 00:25:08,475

Bring it up in the spring.

490

00:25:08,475 --> 00:25:13,365

A feudal tree lines I've been through

there, back in, through in here before

491

00:25:13,365 --> 00:25:14,715

we finished the bottom of that off.

492

00:25:15,285 --> 00:25:16,185

But look at the knife.

493

00:25:16,215 --> 00:25:20,475

There's a lot of pressure going on,

loose paint, a lot of pressure, and it's

494

00:25:20,475 --> 00:25:23,355

moving off of my knife off of my knife.

495

00:25:24,725 --> 00:25:25,805

Do you magic?

496

00:25:27,425 --> 00:25:27,995

Okay.

497

00:25:28,205 --> 00:25:29,435

Slicer in there.

498

00:25:31,235 --> 00:25:32,555

Little here, little there.

499

00:25:34,620 --> 00:25:38,729

Now, when I'm teaching you these things,

you know, the more you see, the more

500

00:25:38,729 --> 00:25:44,399

you're going to learn, take maybe two or

three paintings and make a composition

501

00:25:44,399 --> 00:25:49,189

of your own, you know, start with a

composition that I do, but then like

502

00:25:49,199 --> 00:25:52,889

say, Oh, I can see that mountain in a

certain different setting or maybe what

503

00:25:52,889 --> 00:25:55,110

the big Lake or small trees or whatever.

504

00:25:55,620 --> 00:25:57,330

Remember use your imagination.

505

00:25:58,155 --> 00:26:02,055

Your imagination is your own and

no one else has your imagination.

506

00:26:02,615 --> 00:26:08,765

You're a unique, unique how I pulled

some of that reflection down in.

507

00:26:09,095 --> 00:26:09,515

Okay.

508

00:26:10,085 --> 00:26:12,665

Cause this is going to be a

reflection, water, pull it

509

00:26:12,665 --> 00:26:17,105

across light touch, light touch.

510

00:26:17,225 --> 00:26:19,265

I just want to show a little

movement down in here.

511

00:26:19,265 --> 00:26:21,185

We're not too hung up on this part today.

512

00:26:22,085 --> 00:26:24,845

We've got some of the techniques

that we needed to learn.

513

00:26:24,875 --> 00:26:25,775

A lot of my students.

514

00:26:26,475 --> 00:26:29,415

A lot of people when I'm doing

demonstrations will ask me those things.

515

00:26:29,955 --> 00:26:32,235

Show me more about the knife.

516

00:26:32,265 --> 00:26:36,915

Show me more about the fan

brush and that's what we did.

517

00:26:37,905 --> 00:26:38,355

Okay.

518

00:26:38,385 --> 00:26:40,245

Look, I'm getting a load of paint.

519

00:26:40,305 --> 00:26:41,925

Loosen it up with the magic white.

520

00:26:42,795 --> 00:26:43,095

Okay.

521

00:26:43,095 --> 00:26:44,745

Again, the CIC paint.

522

00:26:47,195 --> 00:26:50,615

Look at the natural pull of

that natural pull back into

523

00:26:50,615 --> 00:26:54,755

shadow, you know, the Alexander.

524

00:26:55,185 --> 00:26:59,655

When on what technique was designed to

get just exactly what you're seeing there.

525

00:26:59,865 --> 00:27:00,345

Okay.

526

00:27:00,795 --> 00:27:02,085

Exactly what you're seeing there.

527

00:27:02,085 --> 00:27:09,095

You've seen paint wet on wet, thin is

pulling from the thick a little more

528

00:27:09,095 --> 00:27:14,795

up through there, Dan, and through

here, little movement up in here.

529

00:27:15,665 --> 00:27:16,085

Look at that.

530

00:27:16,085 --> 00:27:18,065

Look at that tapping quickly.

531

00:27:19,775 --> 00:27:20,435

I like a song.

532

00:27:20,895 --> 00:27:26,325

Take that knife without a little bit of

magic weight and touch of yellow, bring

533

00:27:26,325 --> 00:27:30,225

it in like, so, and there we got it.

534

00:27:31,595 --> 00:27:35,945

Well, I hope I was able to help you

today learn some of the keys to mastering

535

00:27:35,945 --> 00:27:39,755

this technique and I'll see you out

there when we're selling our wares.

536

00:27:40,145 --> 00:27:40,955

Thank you very much.

537

00:27:40,985 --> 00:27:41,375

I've sure.

538

00:27:41,375 --> 00:27:42,065

Had a good time.

539

00:27:42,515 --> 00:27:42,845

Bye now.

End .srt file.

Bill Alexander's The Magic of Oil Painting

Tuesday, December 15, 2020

UNKNOWN Season, Episode, Sunlight Mountain - AVAILABLE

Bill Alexander's

The Magic of Oil Painting

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