Sentences with phrase «actual work surface»

I always like to keep a spray bottle of water by my side to either mist my brush or the actual work surface.

Not exact matches

A: Postponing a cheaper surface corrosion repair until there's an actual hole usually works against the vehicle owner.

As far back as the early 90s, I've been incorporating mirroring and symmetry in my work, using varying degrees of actual reflection along with painted surfaces.

Both qualities are evident in Knight's Heritage, an important transitional piece in which Truitt still employed a brushy texture to define the paint surface and actual grooves to mark the three divisions (elements she abandoned in her later, smoother work) but began to break out of the somber tones of her earliest work and embrace glowing color.

His scrubbed surface textures imbue a tactile touch of energy in the static yet moving qualities in his work, implying an excitement about the actual process that is unmistakable.

And while all this information surely contributes to an important analysis of his work based in socio - economics, race and culture, it ignores the physicality and lushness of the actual surfaces and the connection of Bradford's work to textiles.

Adding an additional gesture to the actual surfaces of the works themselves had initially felt like too heavy of a move, and I feared it might bring the works into a type of didacticism.

The works create luminous visual fields that are difficult to take in all at once and that seem to shimmer, blink, and glow in an indeterminate space between the viewer and the actual surface of the painting.

Physical gestural modification to the actual structure of the cast surfaces is something I am actually working through at the moment.

Greenberg saw the clotted and oil - caked surfaces as reflecting the artists» existential struggle; Rosenberg saw the finished object as only a kind of residue of the actual work of art, which he thought lay in the «process» of the painting's creation.

The dots refer to earlier works where he added actual candy wrap to signify sweetness, by unifying the surface of the canvas they also show a clear dialogue with conceptual painting.

Through these techniques as well as the use of actual film to take pictures, at times out of focus, the artist imbues the works with a haziness that speaks to the indistinct nature of history and «fact» and a surface that The New York Times describes as «clouds of scintillation.»

It's a typical Schnabel in that the artist has made things peculiarly difficult for himself, as far as actual painting is concerned, by encrusting the working surface with smashed plates.

In the artist's newer works, the palettes continue to be located within the actual painting and in some cases include other studio byproducts repurposed beneath the painted surface, which in turn take on a landscape of their own.

You can also work very thinly with transparent glazes or very thickly with a mountain of paint but the actual surface quality of the acrylic remains flexible, this means your painting won't crack over time.Thin coats of acrylic paint can be used to give a watercolour look to a picture.

As Frank Stella wrote in his book Working Space, there is no substitute for looking at the actual works, you have to be able to go up to the surface and see how the artist put the paint on.

The work is an estimate of the global average based on a single - column, time - average model of the atmosphere and surface (with some approximations — e.g. the surface is not truly a perfect blackbody in the LW (long - wave) portion of the spectrum (the wavelengths dominated by terrestrial / atmospheric emission, as opposed to SW radiation, dominated by solar radiation), but it can give you a pretty good idea of things (fig 1 shows a spectrum of radiation to space); there is also some comparison to actual measurements.

Note we're using BEST land area, so actual rates of warming are slightly elevated from global levels including sea surface temperatures, however BEST has enough resolution to allow us to work with 12.5 years of temperature data and not have such abysmal CI as to need to reject the comparisons outright..

Most often, when someone is colour grading in DCI - P3, they're targeting high - end digital movie projectors, not other computer screens — not to mention the fact that actual professionals who need to work in DCI - P3 are buying monitors with built - in calibration tools that cost several times more than the Surface Pro.

I told her I probably should've mentioned that my photo consults are better for choosing colors, textures, decor and surfaces than they are for space planning (because actual measurements are needed for laying out furniture), but I crossed my fingers and hoped that what I envisioned over there would work.