Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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.
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.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
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.
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.
Welcome to my web page, glad you are here. Today, I am going to be demonstrating how I use my dome round brushes to apply light values on circular shaped objects. The brushes come in four sizes, a large, a medium and small and an extra small. They are 100% stable, so they are very absorbent and resilient. First, if you use these brushes for nothing more than to put a cheek on a ornament or light value on a berry you will love them. First, I apply a thin sheen of FolkArt Extender to my surface. You can use water, but I am not as proficient with water.
So I choose to use the FolkArt Extender. Once I have that on and there is just a sheen, I will take out just a tiny dot of the color that I am going to use for the cheek. So I will make sure it's not too wet. I am just going to set a dot down where the cheek is going to go. I will pick up this extra small dome round and I am going to go right over the top of it. I am going to press on it and give and give it a little bit of a shape. Dot, blotted in a little and I am done and I have a perfect cheek or a perfect highlight.
Here you can see I have some blueberries and I will do the same thing. I will apply a very thin sheen of the FolkArt Extender. Take off a drop of the light value, place it where I want it in the upper right center quadrant and I am going to take the same dome round brush for push on it and just push it in and I have a beautiful light value on the blueberries. Same can be done with the pea. I take a pea and I pick up a tiny droplet of the light value in my liner brush, place it in that upper right quadrant. Take the dome round, dry, wipe it off in the damp area of my paper towel. Come back in, set right on it and push that light value down into the pea and you will have a nice light value with no pain.
Sometimes we have larger objects, like for instance this strawberry. I will start out the same way, put a little bit of extender on the strawberry. This time the light value will be a little bit bigger. So I am going to pick up a little bit more paint. I can put it on in an irregular start or just a large circular like I did before. I will probably come in and pick up my medium brush and again, I am going to start at the top and I press really, firmly down and I am going to let that brush work. I gently rotate it. Pushing it into that background and have the beginning of a beautiful light value on that strawberry.
I have an orange here, I will do the same thing. Only this time, I might put a little of even larger area of light value on. Pick up a liner or round and I am going to pick up my orange, light orange value and in the upper right center light source it falls in this upper right quadrant and at this point I put the light value on an irregular star. That way I don't tend to make any outlined edge on it. I am going to pick up my large and I am going to start on the outside corner and I am just agitating that brush a little bit, lifting and letting it twist, turn over and rolling and little in my fingers as I walk around that highlight pushing that paint into the background. Not pouncing it, I am just pushing it. I am barely lifting it off, do more of a rotating of that paint of the brush.
When it's soft enough walk away. Once, it's dried the extender dry, you can go back and you can repeat it as many times as you want. Painting a light value on this, a long area here on this paper is a little bit more difficult, because you have to flip flap your brush and for me there is nothing more painful than flip flapping your brush. So what I do is I will take and put the extender down. Take some light value and I put it right down in the middle of where I want the light value to fall.
Now, this could be with a clock or it could be with any cylindrical shaped object. I am going to take and dry with it, large round out. I am going to start at the top and I am just going to start, push down and just swish back and forth until I have a nice light value come in, soften the edge. You can pull it out more to push it out more however. And the beginning the first value of a great highlight on your paper. Thank you, visit me again.