Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Connected features the personal stories of six New Yorkers woven together into one of the most intimate series ever. This groundbreaking show changes the nature of storytelling by giving each character a camera to document their lives. The result is a unique format revealing as different as everyone appears to be, we are all universally Connected.
Wake up to your world in 2 minutes.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
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.”
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.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
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.
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.
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.