Sentences with phrase «between paint layers»

If my design is going to be embedded between paint layers then it isn't as important to have it perfect, but I will remove really bad slops --

If you want to follow an acrylics lesson using oils, where the style of the lesson is more towards realism, you'll need to wait much longer between painting layers than the instructor does during their lesson.

Not exact matches

That is individual layers of dough painted with oil in between.

Industrial emissions of a chemical commonly used in solvents, paint removers, and the production of pharmaceuticals have doubled in the past few years, researchers have found, which could slow the healing of the ozone layer over Antarctica anywhere between 5 and 30 years — or even longer if levels continue to rise.

To create the wallpaper, the team started with steel foil sandwiched between layers of paper that are coated with magnetic paint — acrylic paint infused with iron particles.

Wearing a layer between your pants and your skin (like tucking in your shirt) can help, he says; so can painting over the back of the button with clear nail polish.

, a layered process, and allowed for «negative» space (the white between the diamonds), making for a sophisticated piece, rather than simply throwing paint onto the canvas and calling it «abstract» (which to me means, «I couldn't be bothered»).

On a pre-cut board from Michael's I began by painting on a few layers of Gesso and then layers of black paint, drying between each coat with a hair dryer.

Because of this, I found that you really have to build up the paint and work in layers, letting each layer dry in between.

The trick to durability with chalk paint on end tables is patience in the form of many layers (8 - 10) with extra fine sanding between layers.

Spray paint the chest the color of your choice, using two or three thin layers, allowing them to dry completely in between each coat.

The puzzles were pretty stuck together from all the paint between the pieces so I broke them very carefully and also needed to use a craft knife in some places to cut through the paint layer.

If you were using a paint color other then white and were going to sand to distress, though... you should not use Kilz or any white primer since you would see the white layer in between the wood and the paint color when you sand.

Spackle is white and you would see this as a layer color under the paint and between the distressed wood.

• The steel front - of - dash panel is sandwiched between two damping mats • Nylon baffles are used in various hollow portions of the body structure and filled with sound - absorbing foam that expands when the body enters the paint oven • The headliner comprises five layers of thermal fiber acoustic material, including a premium woven fabric on the visible outer layer • Patches of sound - damping material are applied strategically throughout the body structure and melt into place when the body passes through the paint oven, allowing the patches to follow the contours of the sheet metal below • Sound insulation material between rear - body structural components that is made from recycled denim • Triple - sealed doors that feature fiberglass «blankets» serve as water, airflow and noise barriers.

The «self - cleaning» paint, called Ultra-Ever Dry, creates a protective layer of air between the paint and environment, effectively stopping standing water and road spray from creating dirty marks on the LEAF's surface.

This deliberate, dense layering of paint makes it hard for the viewer to tell what is figure and what is ground, and the constant, jockeying interplay between the two gives Ms. Passlof's work much of its dynamism.

The finely detailed, hand - painted miniature patterns in gouache add an unusual visual register to the transparent watercolors, layering silhouetted bodies in sinewy vines and other organic shapes, and confusing traditional distinctions between figure and ground.

Those layers harden with various thickness and viscosity, the pools of paint, cracks, and coagulations creating enticing surfaces that capture a delicate relationship between control and accident.

Upon exploring the stained surfaces of Krone's Screen Paintings, one is made aware of the causality occurring between the artist's systematic layering process and its entirely arbitrary result.

In the studio, Dine moves between building up layers of gritty paint and blasting them away with power sanders and other tools.

It eradicates at once Cubism's layered edges and carefully centered compositions, Matta's fluorescent, chilly mannerism, the storybook literalism of many other Surrealists, and the whole distinction between drawing and paint.

Layers upon layers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movLayers upon layers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movlayers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movement.

[10] The artist sought to remove any trace of her brush, sanding down each layer of paint between applications and creating perfectly finished planes of colour.

Painted from historical photographs taken from old magazines, family albums and the propagandist publications distributed by the government during the Cultural Revolution, At a time of immense and rapid socio - economic change in China, these works look back at its past, marking a fragile line with delicate layers of ash between individual memory and official historical record.

SOLO EXHIBITIONS 2016 «Emma,» Russell Collection, Austin, TX 2009 «Recovery,» Center for Contemporary Arts, Abilene, TX 2008 «Figuratively Speaking,» Amy Graves Ryan Fine Arts, Abilene 2008 «Emblematic Expressions» Falcon Gallery, Del Rio, TX 2007 «Satiated Between the Layers» Center for Contemporary Arts GROUP EXHIBITIONS 2017 Affordable Art Fair New York, NY 2016 Art Hamptons, NY 2016 Artspace Warehouse, Los Angeles, CA 2014 «Beyond Beauty», Russell Collection, Austin, TX 2015 «Mixed Media», Roan and Black, Saugatuck, MI 2012 «Femme», Russell Collection Fine Art, Austin, TX 2011 «Best of Texas», Russell Collection Fine Art, Austin, TX 2010 Samuel Lynne Art Galleries, Dallas, TX 2009 Samuel Lynne Art Galleries, Dallas, TX 2009 Center for Contemporary Arts, Abilene, TX 2008 Center for Contemporary Arts, Abilene, TX 2007 Fairmount Gallery, Dallas, TX 2007 Simply Art Gallery, Galveston, TX AWARDS 2008 Best in Show, McMurry University 2007 - 2008 Outstanding Painter, McMurry University 2005 - 2006 Outstanding Painter, McMurry University 2005 - 2006 Outstanding Sophomore Artist, McMurry University 2004 - 2005 Outstanding Freshman Artist, McMurry University 2004 - 2008 Perry Bentley Scholarship recipient 2007 Best in Painting - Manhattan Arts International 24th Anniversary Competition About the gallery: Artspace Warehouse is one of the world's leading galleries for savvy contemporary art collectors.

Often, as through a geology of painting, the work accumulates successive strata throughout its creation, resulting in layered works, seemingly formed through an interplay between sedimentation and rushing rapids.

These paintings are the product of a labor - intensive process known as frottage, in which paint is first applied to the canvas before the artist methodically alternates between scraping off existing layers and adding fresh coats.

Instead of the translucent washes of faint color seen during earlier periods, Martin experimented with a palette of muted greys, layering paint to create robust, opaque surfaces that serve as a bridge between her early and later works.

From there she applies paint in thin layers on board, in between whitewashing and sanding.

In a decisive move away from the experimental monochromatic series of white, black, and red paintings he created between 1951 and 1953, Rauschenberg began Collection by covering three panels with red, yellow, and blue fabric and layering them with innumerable collaged, drawn, painted, and sculpted elements.

In the fifteen years between 1975 and 1990, Warren Rohrer developed and perfected in his paintings the layers of illuminated color and precisely articulated surfaces that are the defining characteristics of his mature work.

This one, from his new «Landlord Painting» series, was inspired by the way that landlords use roller brushes to hastily repaint an apartment's walls between tenants, and, done in candy - colored layers that hypnotically bleed into one another, it's completely beautiful.

Although the Black paintings are not a discrete series in the same sense as the artist's White Paintings (1951) or Red Paintings (1953 — 54), they are all composed of layers of newspaper and dense black paint, and together they represent Rauschenberg's extended study of the boundary between painting andpaintings are not a discrete series in the same sense as the artist's White Paintings (1951) or Red Paintings (1953 — 54), they are all composed of layers of newspaper and dense black paint, and together they represent Rauschenberg's extended study of the boundary between painting andPaintings (1951) or Red Paintings (1953 — 54), they are all composed of layers of newspaper and dense black paint, and together they represent Rauschenberg's extended study of the boundary between painting andPaintings (1953 — 54), they are all composed of layers of newspaper and dense black paint, and together they represent Rauschenberg's extended study of the boundary between painting and collage.

Though derived from the same painting, the mechanized process of the jacquard loom gives each tapestry a unique color scheme and compresses Richter's signature scrapes and layered compositions, creating a form in between painting and photography.

Between 1959 and 1960 Polke completed a glass - painting apprenticeship, an experience that contributed to his lifelong attraction to transparency and layering, with many of his later paintings utilising see - through plastics or being painstakingly built up using strata upon strata of found imagery.

With an unfailing sense for content and composition, Yellin paints these fragments together between many layers of glass.

The painting has to dry between layers.

The veiling and layering technique allows the possibility to explore spaces inside the paintings, which dissolve the distinction between reality and appearance.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

Because she paints on industrial supports, aluminum panels or layers of plexiglas often bolted to the wall, Enteles» works contain an inherent tension between the organic subject matter depicted and the materials with which they are constructed.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

Reminiscent of early forms of abstract modern art — a moment of convergence that did not actually occur in art history between cubism, constructivism and neoplasticism — her paintings emerge through a process of layering and accrual, with the finished work being «a concentrate of the many paintings underneath».

In this recent body of work, Smith creates dense layers of color and translucency that push their way across the canvas, creating a dynamic atmosphere of interplay between painting and viewer.

There is duplicity in each painting that traces the relationship between violence and defeat, and he successfully represents the process of decision - making in his layered canvases.

The result is an underlying anxiety or slipperiness in the paintings that reveals itself in a delicate alliance between layers.

Layers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point ofLayers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers wears away the visible to the point of ruin.

The transparency of the medium adds an element of poetry hidden between the layers of paint.

While the material and technical difference between the printed Fantasy Island and the painted Village HD may be impossible to distinguish when comparing the two on a computer screen, in person the formal and theoretical layering that enlivens work like Village HD literally falls flat in Fantasy Island's digital - to - digital translation.