Sentences with phrase «burnt sienna»

I didn't originally intend for the room to have the burnt sienna and mustard / gold accents but they are present in the curtain fabric and they worked really well with the «Dimpse».

Select an option... Acorn Avocado Black Burnt Sienna Buttercup Colonial Red Espresso Evergreen Federal Blue Khaki Green Light Blue Natural Nautical Blue Pecan Robin's Egg Blue Slate Grey Strawberry Turquoise Weathered White White

Click here for the link to the Gathering room light fixture is the Dayna Burnt Sienna pendant by Seagull Lighting shines light on the custom tresell table by Paul Caloyeras.

It is a simple image of the sea with a billowing burnt sienna and yellow ocher storm cloud at the horizon.

Some colors give u muck like cad red light and burnt sienna if you aren't careful.

One of these is the way the burnt sienna ground rises from below at the margins of the sections.

Despite the numerous layers of paint, Burnt Sienna Sky has a sense of immediacy that belies the time taken to produce it.

Cerulean burnt sienna quin sienna quin burnt orange.

These were followed by tube colors in burnt sienna and burnt umber for the darker values.

The vast Sudden Feral, 2017, nearly fifteen feet wide, with its rich, roiling blues and an emphatic swoop of burnt sienna, seemed windblown and oceanic, as well as delicate and musical, and as unstable as breaking surf.

He laid down the first wash with Naples yellow and burnt sienna for some sunny spots — and to create a focal point with a strong patch of light.

AL: My palette is pretty simple: titanium white, ivory black, burnt umber, burnt sienna, sap green, cad.

LB: My first palette consisted of, going around from the bottom left of the palette and moving along the outer edge to the top right or middle of the right edge: titanium white, zinc yellow, cadmium yellow light, naples yellow, yellow ochre, alizarin crimson, cadmium red light, venetian red, ultramarine blue, cobalt blue, cerulean blue, virdian green, chromium oxide green, ivory black, burnt sienna, raw umber.

In «Barn Window — Blue Sky,» a crisp blue square is set against a field of burnt sienna.

Rivers is a genius at outlining their shapes and movement; just as he beautifully captures the contrasting burnt sienna and soft blue of their plumage.

Oil colours as follows - titanium white, naples yellow, cadmium yellow pale, yellow ochre, cadmium red, alizarine crimson, burnt sienna or burnt umber, french ultramarine.

In the diptych Steel 7 (2016), the canvas on the right is neatly divided into four sharply contrasting areas of evenly daubed blue green and burnt sienna.

Flat patches of burnt sienna, umber and ochre are interspersed with high - keyed thicker blue pigments.

Burnt Sienna provides drawing classes, painting tutorials, mentoring, portfolio reviews, short courses led by visiting artists and studio visits in Berlin.

My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue - Violet and Phthalo Yellow - Green... just mix as I go for each painting.

Belgian artist Jan De Cock is best known for large - scale, site - specific structures made of fiberboard in shades like pea green and burnt sienna.

Phong Bui (Rail): It must have been in late May of 1988, just a few days before Meyer and Lillian Schapiro left for South Londonderry, Vermont, where they had gone every summer ever since in the late 1930s, that they showed me a small abstract painting, with a loosely painted grid and rather somber palette of burnt sienna, raw umber, sap green, and deep blue, which, I was told, you had given them.

Red, Alizarin Crimson, Naples Yellow, Yellow Ochre, Burnt Sienna, Ultramarine Blue, Cerulean Blue, Viridian, Ivory Black.

A traditional painting class on panel by Burnt Sienna Berlin.

Parets, 1987; Collograph drawn with Araldite glue in light burnt sienna, on handmade paper (framed); Signed, dated and numbered 2/20; 51 1/2» x 37 1/4» (sheet, irregular); Publisher: Editions Poligrafa, Barcelona; Provenance: Private Collection, New York

DSS 272 Burnt Sienna enamel on cold - rolled steel Painted 1972; fabricated 29 December 1969 CoIl.

Colours: (Golden Acrylic: Heavy Body) Hansa Yellow Opaque, Cadmium Yellow, Yellow Ochre, Burnt Sienna, Cadmium Orange, Cadmium Red, Phthalo Green (Blue shade), Turquoise, Cobalt Blue, Cerulean Blue, Phthalo Blue (Red Shade), Prussian Blue, Dioxazine Purple, Medium Violet, Quinacridone Magenta, Titanium White.

Colours: Cobalt blue, French ultramarine, Burnt sienna, Lemon yellow, New Gamboge Yellow or Indian yellow, Permanent rose, Alizarin crimson, Daler Rowney Sap green, Purple: Daler Powney «Permanent mauve» or Winsor & Newton «Winsor Violet (PV23), Schmincke May Green (or Daler Rowney Vivid green)

Titanium White, Yellow Ochre, Raw Umber, French Ultramarine (Blue), Prussian Blue, Violet (Winsor Violet or Ultramarine Violet), Lemon Yellow, Cadmium Yellow (or Indian Yellow), Viridian, Cadmium Red, Alizarin Crimson, Burnt Sienna.

Colours: Cobolt Blue, French Ultramarine, Cerulean Blue, Cobolt Violet, Raw Sienna, Burnt Sienna, Cadmium Lemon, Lemon Yellow (Nickel Titanate), Aureolin, Opaque White, Veridian, Light Red.

Next, the flower pots have been added, using various mixes of burnt sienna, yellow ochre, brilliant red and the white.

Colours: Quinacridone Gold, Permanent Rose, Burnt Sienna, Winsor Blue (Green Shade), French Ultramarine Blue, Green Gold, May Green, Neutral Tint, Transparent Oxide Brown.

Returning to the left eye which was pale and flat looking, a watery mix of Burnt Sienna was dropped in using the tip of the brush.

Colours: Ultramarine blue, burnt sienna, oxide of red, cerulean blue, raw sienna, manganese violet, white, lemon yellow, kings blue light, cobalt blue, naples yellow, cadmium yellow, alizarin crimson, paynes grey.

Colours: raw umber, burnt sienna, yellow ochre, burnt umber, ultramarine blue, cobalt blue, cerulean blue, king's blue light, alizarin crimson, cadmium red light, cadmium orange, naples yellow light, naples yellow dark, cadmium yellow light, lemon yellow, titanium white

Colours: Cobolt blue, Ultramarine blue, Raw sienna, Burnt sienna, Naples yellow, Cobolt violet, Aureolin, Viridian, Light red, Cadmium yellow, Lemon yellow.

While this dried, I mixed a dark wine colour from the red, burnt sienna and a touch of blue.

Yes, I could have mixed it but I had an unopened tube of burnt sienna in my watercolour box and I thought it would be useful to demonstrate how well it would intermix with the gouache.

Colours: alizarin crimson, cadmium red, rose madder, verde green, terre verte green, ultramarine blue, cerulean blue, cobalt blue, ultramarine violet, transparent oxide of red, burnt sienna, raw umber, burnt umber, yellow ochre, lemon yellow, titanium white.

Colours: titanium white, naples yellow, transparent perinone orange, cerulean blue, ultramarine blue, burnt sienna, burnt umber, red, black, brilliant violet

I used mostly burnt sienna, with touches of white and blue added to vary things slightly.

Colours: Titanium White, Naples Yellow, Indian Yellow, Yellow Light, Transparent Orange, Yellow Ochre, Permanent Brown Madder, Burnt Sienna, Cadmium Red, Indian Red, Ultramarine Blue, Violet.

2nd Place (Traditional) «Burnt Sienna Blues» by Barbara Kordas Acrylic on Canvas - 30» x 15» - $ 800 [email protected]

In Confirmation (2014), the artist applies one color, a burnt Sienna, with similar horizontal brushstrokes in a variety of values.

The artist first applies thick layers of oil paint in various colors, including burnt sienna, green, blue, and yellow, onto a white painted background, then uses her body to vigorously mix and sculpt the material until the once - vibrant pigments meld into a rich gray tone.

Blue Mountain Gallery is pleased to present «Horse Drawn,» a series of drawings executed in charcoal, monochromatic pastel, oil stick and burnt sienna wash, by the artist Ival.

Then I branched into larger works in silhouette and linear treatment, several relying mostly on burnt sienna and black, which in my mind is reminiscent of the impact of Andalusia.»

The number three often recurs throughout Sarmento's practice; in this exhibition it is manifest from his use of his three signature colours: yellow ochre, burnt sienna and grey, to the de-contextualised dialogue he creates via himself, Blanchot and Bataille.

By applying a glaze of burnt sienna to the paper's surface, I embellished a mixture of sepia, indanthrene blue and burnt sienna with a 3/4 - inch flat brush.

In an attempt to push the value range, I added two more glazes of the Payne's grey and burnt sienna.