Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
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.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
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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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.
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.
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.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
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.
Hello! Thank you everybody for inviting me. I am very happy to be here. So it’s very simple and basic plan using some colors or just putting some colors in the front, but anyways, so that’s what I do, I put something on the background, just like that, very simple. And you know, usually I kind of turn my mind, stamping on what I’m going to do, but in this situation I’m just going to charcoals, putting colors of that, you know, that comes to my mind right now.
So some yellows and usually I try to keep the background a little bit lighter than point paint so I can add some contrast to it. So, let’s just compare, about some white—white is used a lot. This paint works really-really quick paint, so something just a little bit white, and I’m going to get some of my towel, towels or paper quills, so it doesn’t need to clean the mess as long as you need to draw the picture.
So I’m going to make towel a little bit wet and I’ll just hold it in my hand, then I draw this now. So it depends you know, sometimes I can do realistic backgrounds, I can use maybe some other mediums to add thickness to it, sometimes just a filler on paint. Then, with both hands, just get it off.
And mostly it’s interesting because you can make, we’ll apply different shapes and forms even in administering the paint. So you can get, maybe to apply down like a little landscape or something that maybe the sky, the sea, whatever it is—expand your interest.
So it is easy to experiment with that, adjust, and again the white, the white color is just white advance, I just like the color white. So hopefully this background will dry quickly and here we have to put some colors on it.
I’m going to put some different thicknesses, and so I’m going to use the paint, so it’s going to look like this.
We need to buy big gallons of paint to do that where the little tubes is better than what I was doing, maybe one or two paintings, start with your realist thinking and draw that big hot thing but I get that coal spill some where, I am always being careless when I do this. And do not be afraid that your worst painting is good as best unless you know the tones. Alright, so then we go with yellow, the white and the thing that you have polished on—
--And it keeps bonding, at least by walking by itself, at least painting by itself. So although you do it, if you do this, all is over, so getting it done.
Well, that would be so interesting, you never know what your going to to do the next day. Then we come “Oh-oh, that’s my part of point” or the other way “Oh! That’s exactly what I wanted or that’s very—
Adjust in some here and we’re just going to have some, too much? And it gives to make some colors—it’s okay if it draws anything that comes with it, it is so much interesting to have little drops. Just few little drops here, few little drops by cunning and dropping by itself and I’ll just hot and pop it. I’m going to say “Oh my gosh! I dropped them there, oh! It’s horrible, it’s just good an hour a bit”—no, that’s not the right thing, alright, just a part of every thing, has to part with the whole thing.
Okay, where in to the brown, And I think of getting over a bit too much paint in here, but I really feel like to stop there because I want to keep a little bit of the background but otherwise I’m going to cover the whole background and you’re going see the shapes on it.
Okay, so well, this is the basic technique of how doing it, so this is the small scale, big scale, little scale, so that’s what it is.