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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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A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
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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.
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ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
Hello! I’m Hall Groat II, welcome back to my studio. It’s my 25th instructional DVD and we’re going to continue on with the landscape painting series and recreate this 8 x 10 inch piece that was completed a while back.
So today, the palette we’re going to use is going to consist of some Titanium white, some lamp black because of some of those real dark areas. The standard burnt amber, ultramarine blue and then particular to landscape painting is this blue green called Aberdeen green. We’ll use a little bit of that on some of the leaves and rocks. And then our lemon yellow, and then we have yellow ochre which is a darker yellow. A medium red which is close to a blood red and then a darker red called the Alizarin crimson. So this will be able to work with a landscape.
In terms of the medium, I’m going to work with the refined linseed oil which will stay wet for quite a time and allow us to work Alla Prima wild on wet. I love this stuffed. We’re going to take some of the linseed oil. We’ll just pour a small amount by a quarter into this little aluminum reservoir, one of those of clip on reservoirs.
So these are shouts of light. You want to put this paint down pretty chunky and thick because what’s underneath is a little bit wet and so we want to these strokes to set up on top without intermixing too much. You’ll noticing lights hitting here. When I put the stroke down, I want to let some of the darker—stop to show through. In some cases, I can use like little point of stroke to suggest like maybe chunks of leaves and chunks of dirt. I maybe a few little dubs right up against that little falling tree. Believe or not, what we are doing now is very similar to I mean the idea of painting shapes in between the foliage. It’s like over, I can take the palette and I can sort of scrape onto it and maybe drag it down. Take a little bit off and bring it down to here. There’s a few spot.
We want to make sure those lights hierarchy. When you work with light in a front -- while approaching the end and during the final touches, you’re going to see me use this very fine Double O brush to suggest some little fishers within the stones. So, I take my arm and rest my hand on my arm and pretty much any dark will work for this. It is very fine lines. So up in here there’s a few brown little—