Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
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Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
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Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
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Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
American artist, Hall Groat II, offers on-line painting instruction through his innovative DVD series.
Tags:How to Classically Oil Paint - Part 2,Hall Groat II,how to classically oil paint,on-line painting instruction,a-painting-day,Art,oil,painting
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Got some peaches set up behind me here, and I’ve started this 8 by 10 inch painting already. Done the undertone with the Burnham – Bernell twin blue. Started to paint a silver bowl on top of the blue cloth and a book, and I, I have the under painting for the peaches. So it’s pretty much set up, I’m gonna focus in on just how I go about painting the simple relationships of warm, cool, dark, light to suggest the illusion of light bathing these two peach. So taking a look at the peaches from a close up point, you can get a better sense of the type of light that is actually bathing these peaches, and. Now right here where I’m pointing, this is a, this is rim light, the light that just breaks around the back edge of the farm. So I’ve got my number six brush, what I did is I put my linear value scale down here so you get a sense of where we’re going. The tense that I’ve mixed up are for the most part towards the middle of the value range, and we do have this, this drift color that’s more towards lower key. But, when we look at the violet then the area where we added the red, we’re moving more towards the middle value. And what we’re gonna do with these, these peaches is start off more towards the middle then move a little bit darker and then end with lights. We’ll end with this higher key values for the rim light. So before I make the first stroke, I wanted you to see the actual spot that we are going to, I’m gonna paint on top of. This is, you can see the grain of the canvass coming through, and this entire under… undertone… under painting, some people call them, imprimatur, which means transparent layer, Italian. The lighter areas here are the actual, that’s just so burning through, and then… so starting off just scumbling some of this color right in here. Just a little bit of light, so I’m just placing that mark of a cad yellow right into there. I’m not going to go too deep with it, I wanna keep it right near the high point, just allow to grate it frost on top of the form. Noticing it’s a little bit brighter up here, so bit of the cad yellow. I’m show you how light often times is enhance by, by how colors and values interrelate. We’re looking right down at the spot of blue of the cloth… this allow to mix right on the surface. This is where magical things start happening. So I take my brush, just allowed that red to sort of slide around… and bring that down with violet scumble. So scumbling is where things start to really happen. It gives the color the shimmer, it actually gets the light to shimmer, coz color is light. I’m gonna take a larger number 8 brush and just sort of scumble in to what I have done with the smaller brush, just to model…