Sentences with phrase «painted it black because»

Painted it black because I wanted my lettering to shine through.

Not exact matches

The company chose wood paneling because that's what it would have had in the late 1800s and painted it black to resemble a charred whiskey barrel.

He had stopped his SF70H further left, because the right - hand side was damper and he was trying to avoid the white lines and old lines that had been painted black.

SHELLY STEELY: Yeah we used the dresser it was my mom's dresser only they're not from when she was growing up I mean in the seventies and her grandpa had her paint them orange because that paint was on sale so horrible bright orange color and I think there was two of them and I think at one point my brother painted one black but the other one was just sitting in the closet and so we took it out and repainted it kind of a bright blue.

You can use craft eggs (or get the cheap plastic kind and paint them white), some felt, pink and black acrylic paint, and white pom poms (because, of course, you'll need a tail for the back!).

Flash Tech hopes to adopt the technology, he explains, because it is much gentler than the company's existing light pulse system, which strips paint but generates heat and leaves a sticky black residue.

I don't know why because I love the design of the watercolor paint and the black panels on the side are super flattering.

I have always lusted after this Chloe bag This Yurman necklace is so versatile because it is on a slide chain that makes it more formal or long for every day This Gucci belt that is reversible to black and brown I have lusted after these slides I adore this blush cami Budget friendly tie front dress One of my favorite high pigmented lip paint Give me all the scallops and these espadrilles I have majorly been lusting over How to instantly feel like a 70's model, add these sunglasses The cutest Summer hat My favorite new perfume that I can't get enough of.

I scribbled all over it quite quickly, more or less because I couldn't wait to see what it looked like finished, but I'm so happy I didn't resort to my black chalkboard paint left over from the dining room door.

I chose to use black paint for the lettering because every room needs a little black.

And even though my black and white campaign dresser that serves as the bar area wasn't as cheap as my bamboo mirror, it's my favorite buy because it was a challenge to find (we eventually came across it at a local consignment store) and also because Bramley worked very hard painting and refurbishing it.

I had to go over it a few times because the black paint needed multiple coats since it's a dark color on a bright white.

I know the feeling because I did a milk paint black dresser as well for my older son's room.

I liked the Goonies cover too, but if you look you'll see no solid black on the cover, just real colour, because it's a painting, not a digital painting.

I can't say that it depends on the paint finish because the black part seems actually classy.

The original owner, California black - plate car was almost completely rust free (the only rusty areas were a few pinholes in the floorboards and the gas tank mounting lip) but because we're going to have the car in our SEMA Show booth and at several shows for the next year or so, it needs to be show quality so we prepped the car for the build by sending it to Superstition Restoration in Mesa, AZ for the fitment of a Mustangs To Fear front fascia and hood, and then a retina - burning Axalta 2017 Mustang Competition Orange paint job.

I bought it in super black but having issues with the dealer because it The detail shop waxed it and now I have a lot of swirls and scratches in the paint.

That custom build caught our eye not only because of the two - tone orange and black paint finish, but also because it came packed with a comprehensive performance upgrade that included a ProCharger supercharger, an MRT stainless steel MaxFlow h - pipe and half - back exhaust system, and an H&R coilover performance suspension.

In fact one of the two Espada in Essen was truly unique... this 1969 model finished in a bright blue metallic paint with additional flakes received a black leather interior... on its own already very rare because of the paint, but what made this Espada really a one of a kind Bull was the fact the roof featured a large glass panel that flooded the interior with light making it almost a show car.

Because my tester is a press vehicle, it was also outfitted with a slew of extras, including the technology package ($ 4,295), kona brown semi-aniline leather seats with black accents ($ 1,725), 19 - inch 10 - spoke polished aluminum wheels and P255 / 35R19 tires ($ 1,095), silver moonlight metallic paint ($ 900), all - weather floor mats ($ 175) and a particulate cabin air filter ($ 70).

Normally morale based decisions in games aren't my cup of tea because they tend to be very clearly painted in black and white, the «good» and «evil» answers handily marked out for you and usually exaggerated as well for good measure.

«For me,» he said in his MCA Chicago lecture, «the thing that has the greatest transformative capacity in the art world today, in terms of what people expect to see when they go to the art museum, is a painting that has a black figure in it, because 95 percent of all the other paintings you see are going to have white figures in them.

I have also chosen this photo because painting black can be a challenge, but I wanted to demonstrate the colours that go into a black coat.

-- ArtForum «The comprehensive book is special because it includes many color reproductions of paintings otherwise seen only in black - and - white (and small) in the artist's catalogue raisonné from 2001.»

However, because of my involvement with public art projects and queer identity in early, 90s, I decided to return to paintings with work that looked at the social ideas about the origins of one's sexual identity, often with black humor, of course.

I should mention that the Bonnard paintings that I saw at Paul Rosenberg Gallery around 56, 57 changed everything for me because basically, up to that point, all the painters I'd looked at — Picasso, and my teachers — all painted with black lines around the forms, whereas Bonnard opened it all up.

, the paintings hint at a subtext of dependency and need; instead of a glittering, media - friendly spectacle of strength and sassiness, Thomas's images of black femininity are full of love, because they allow for vulnerability and offer no resolution.

As with his paintings, these works accumulate various stylistic influences to address the historiography of Black art, while at the same time drawing attention to the fact that they are not inherently partisan because their subjects are Black.

There's a lot of duality happening, and the paintings that are going to be shown at the group show really talk about a personal and shared experience with people who are gender non-conforming or who break out of the rigid box of masculinity, especially in the black community and culture because I am so in love with my culture.

I used black enamel on raw canvas because I liked the way the paint was absorbed by the cotton duck — and it was cheap!

But when it does work, it gets a response that no other kind of theater gets, because people know that this was just created in the moment, like witnessing Franz Kline splash black paint across a white canvas.

She wrote in part: «the painting should not be acceptable to anyone who cares or pretends to care about Black people because it is not acceptable for a white person to transmute Black suffering into profit and fun, though the practice has been normalized for a long time.»

The news was particularly devastating because Hendricks had just returned to portraiture after a long, two - decade break from painting stylish black men and women in ways the art world had never seen before.

SLF: It's interesting that you asked me about the colors and tone of the current show, because the next show I'm making, which will be at Howl Happening in November, is going to essentially be black paintings.

But his house painting days didn't last long, because almost right away he made a sensation in the art world with a bold, declarative statement — the Black Paintings, shown at Leo Castelli Gallery.

He refuted any comparisons of his work to calligraphy because he (in his own words) «painted out areas of black with my whites.»

I say plow because the red paint has been laid on generously, then scraped away to show a substrate of black.

As one tracks the years that Black & White focuses on, Kline's paintings become increasingly automatic; Black Sienna (1960), for instance, is almost painful to look at because of its lethargy.

This working orientation is significant not only because of Rauschenberg's storied association with the flatbed picture plane11 — the radical, ninety - degree shift relative to human posture that redefined the encounter between image and viewer in the postwar era — but also because of a subsequent intervention that would give Untitled [glossy black painting] the appearance of a vertically made composition.

Adam Weinberg: Raft of the Medusa is a sculptural work that is actually very painterly in many ways, because although it's hard to believe, it actually is more related to what he did early on in the Black Paintings than you might think.

Not that black represents the still - greater energy and diversity of abstract painting, because it does not have to.

EW: To me, lighting a painting with black light was revolutionary because you were obscuring parts of it, but other parts became really vivid...

Because the textured surface of Untitled [glossy black painting] is so delicate, any attempt to undo the housepainter's accident would have been a challenge.

A black painting by Frank Stella appears with scenes of white working class America by Charles Demuth, Elsie Driggs, Margaret Bourke - White, and Dorothea Lange because, among other reasons, Stella applied house paint.

Malevich's Black Square is a perfect example, not least because Malevich himself dated the work, which is thought to have been painted in 1915, to 1913, confirming the importance of being first.

That is not only because Mr. Marshall's beautiful and biting figurative paintings have been picturing black life in America with such aplomb for so long.

DH I think about Max Beckmann, you know, because Beckmann always painted his canvases black first.

Formally, Sayer elicits the sensation of a perceptual shift using optical illusions: the forms within his black and white paintings emerge because of reification, an aspect of perception that allows us recognize a line due to the careful positioning of disparate shapes.

As James Marshall recently asserted, «One of the reasons I paint black people is because I am a black person... there are fewer representations of black figures in the historical record.»

All the figures are black, not so much a political gesture as because «it would be really weird if I painted white people,» Yiadom - Boakye said.