Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity. We'll hear their inspiring stories firsthand, whether fighting back from a career-ending injury or transforming their lives and bodies through diet and exercise.
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.
The Future Of Us is a powerful original series from television personality, futurist, filmmaker and techno-philosopher, Jason Silva. In this series, Silva shares his excitement around recent discoveries and inventions.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
They say every picture tells a story and AOL On's new original series My Ink proves it. Travel along as some of the world's greatest athletes bring their tattoos to life through exclusive interviews and visits to their favorite tattoo parlors.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Discover crowdfunded small business success stories with author, comedian, and entrepreneur Baratunde Thurston.
Go behind-the-scenes with racing's hottest, young talent, 17-year-old Dylan Kwasniewski, as he aspires to make it in the #1 motorsport in America – NASCAR
Follow Scott Schuman, the Sartorialist, from the streets of NYC to the capitals of Europe on his quest to photograph and document the best in culture and fashion.
Iconic potter, designer, author and personality Jonathan Adler shares his unique perspective on creativity. Showcasing the inspiration Jonathan finds in the most unlikely people and places, Inspiration Point will add style, craft and joy to your life.
Serving Innovation gives a fresh look into the stories and passions that motivate some of the most innovative tastemakers in America.
A documentary directed by Alex Winter exploring the Napster downloading revolution; the kids who created it, the bands and businesses that were affected and its impact on the world at large.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
American artist, Hall Groat II, teaches classical oil painting through his innovative DVD series.
Tags:Making a Composition in Your Painting,classical oil painting,Hall Groat II,painting composition,Art,demonstration
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Dish on one side. The question is will I cut up part of the dish like that or show all the dish. Those who… the… finer aspects of composition, they can get really confusing. Or do you go up like that, and show more negative space up top. That’s all negative space. Do we go to one side or to the other side, or do we go downward and crop off the peaches like that, and have all this negative space down there. So you can look at real basic ideas with the viewfinder and actually move elements around. And we can go up and move this, this way, move that like that, move this like that, change the angle of the book. And perhaps make a more of a tight cluster. Move that back like that, and keep doing that over and over again until we get something the we like that looks good. Look through it, look at how the negative space relates to the objects. Crop inward, move backward, go to the left, go to the right. But after a while, this can get very tiring, there… there must be a way that we can somehow scientifically distill this down to the basic elements. And figure out where to put one element in relationship to another. Let’s think about this. Well in order to decide on a composition within this horizontal format, this 8 by 10 inch canvass, perhaps we need to look very closely at what is called the rule of thirds. Rule of thirds, and how we can combine the idea of the rule of thirds with the viewfinder that come up with the ideal arrangement of elements of the three peaches and the little silver bowl within this horizontal format. We’re looking at the rule of thirds chart, and in essence it is really simple. I know it looks really complex, with all these numbers and all these red lines. But all that means is that we’re taking the composition and we’re thinking of it in terms of dividing the canvass or our picture plane, if we wanna use the fancy design terminology, into thirds going across on a horizontal, and to thirds going down on a vertical. So we end up with these nine boxes and thinking along these lines allows us to avoid, for one thing, the bull’s eye. You never wanna put you’re object smack dab in the middle, or you’ll end up with gridlock in the eye, has no way to navigate around, because there’s always that visual weight in the middle, so we wanna avoid the bull’s eye. So we got our viewfinder, then we have a basic understanding of what the rule of thirds means. Now here I’ve got chart with the rule of thirds lines placed on top. This chart is all about the idea of hierarchy, now I did mention hierarchy in focal point, now this, this box, number one, is the largest shape, so that is the focal point. Our eye goes to that visually dominant and weight the element first as the center of interest or the focal point. So we can look through the viewfinder and think about how that main focal point will be seen through the viewfinder. And then as we move downward, we have number two, number three, and number four. And our objective with these elements is to create some sort of movement through from one element to the next to next to next. Now this is the hierarchal arrangement of the elements. Our eye goes from the first to the second to the third to the fourth. And we can move these elements around in an infinite number of ways and somehow still set up some sort of hierarchal arrangement. The trick is to consider that focal point, that hierarchy, and how these elements align themselves at those strategic places like here, here, here, and here. And look at that in conjunction with the viewfinder. How are those elements gonna be cropped.