Sentences with phrase «brush marks as»

Brush marks as thick as buttercream have the same unwieldy density of ceramic sculpture.

Not exact matches

I suppose that if another universe was more or less dense then ours it could leave a mark as it brushes up against us.

«Pale and rounded in feature, with short fair hair brushed away from a central parting, he wore a single - breasted, slate - blue business suit and was businesslike in manner, save for an extra smoothness, a honeyed promissory timbre to his voice that marked him as an executive of Christian business.»

I was actually sitting and talking to another mother who was telling me about all the places she found stretch marks and as I was telling her that I certainly didn't have any on my back, my hand brushed the tell tale marks of stretched skin.

Brushing off Mayor de Blasio and other leaders who say López Rivera should not be honored at the Puerto Rican Day Parade, Mark - Viverito joined the former FALN militant as he was feted at an official parade reception Friday night at the New York Hilton in Midtown.

Mr. de Blasio insisted on Wednesday that the Council would remain independent under Ms. Mark - Viverito's four - year term, even as he continued to brush off questions on whether his involvement was appropriate.

Easy, as they were paneled we painted them, using rollers, so no brush marks.

What kind of a brush is best for this purpose as so to not leave paint streak marks?

One day I will try it again on paint that I have let cure longer as it is so easy with no brush marks etc..

Vocabulary Elimination Training Teaching Contented Kennel Confinement Teaching Positive Chewing Puppy Play Biting Rewards and Corrections Leadership Through Learn to Earn - SAMPLE Leadership Exercises Using Food as a Training Tool Puppy Proofing the Home Early Socialization Socialization Check List Socialization Classes Teaching «Sit» Teaching «Stay» Teaching «Come» Teaching «Easy» Teaching «Let's Go» Teaching «Off» Pass the Puppy Party Suspension Gentling Exercises Advanced Gentling Child Safety Children Introduced to Dogs Children Relating to Dogs House Rules Household Manners Close Tether Training Rawhide Chews Toys Leashes and Collars Head Collars Leash Walking Preventing Separation Anxiety Preventing Aggression Toward Family Members Preventing Household Destruction Preventing Jumping on People Preventing Destructive Play Preventing Food Bowl Aggression Preventing Excessive Barking Preventing Excessive Whining Preventing Excessive Licking of People Preventing Excessive Urine Marking Preventing Aggressive Play Traveling and Waiting in the Car Jogging With Dogs Waiting at Curbs Spaying and Neutering Identification Food and Water Nutrition and Behavior Bathing Gentle Grooming Nail Trimming Nail Trim First Aide Teeth Brushing Teething

drastically different approaches... I was fine with MS as I have a decent windows 10 machine, and have no problems with them literally bringing everything «exclusive» to the xbox one to PC (albeit limited to their own store or w / e)... The only question mark with all this is XBL, and if they try to force that BS on the PC market... which will be GFWL all over again, and will quickly be brushed aside.

I also use the front and the back of the brush — I paint the paintings with the front and then I make marks into them in the back, which I refer to as cross-hatching.

It started out describing the various marks you get with different brushes, but the tonal value element came through strongly as I was doing it, so I went with the flow!

They leave their mark or its illusion, like thumbprints and color fields for Carrie Moyer or the brush itself for David Reed as the subject of his art.

At the same time, the squiggle - like blue line that lays on top of the majority of the painting is reminiscent of digital marks made through computer programs such as the brush tool in Photoshop, a technique that remains prominent in contemporary painting today.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Artists working in this style do not try to hide what was used to create the painting by smoothing out any texture or marks left in the paint by a brush or other tool such as a palette knife.

The tension between subject and content, the way the one reveals and conceals the other, is played out in the «Women» paintings (Woman as Landscape, 1965 - 66, pictured); the subject appears to be a woman composed of gestural brush marks, the content is ineffable and elusive.

Such a marked departure from Warhol's usual operating procedures is present in the surface style of the works as well, where the noticeable brush work, laid down before the screening of the image, is deliberately referential to New York School painting, in particular to the style of painters such as Franz Kline and Willem de Kooning, a painter whom Warhol himself has referred to as a model.

The painting is a sophisticatedorchestration of positive and negative space, with the depicted herd appearing as bright negatives, and the groups of trees, their trunks and foliage rendered as a series of scraffito - like marks (perhaps made with the end of a paint brush) to reveal lighter hues beneath the final, glowing earth tones.

Stand as close as possible (with your hands clasped behind you so the gallery guard doesn't start to panic you're going to touch the painting) and spend time studying the paint and brush marks, not the subject of the painting.

As if tuned into the conductive properties of the metal supports, brush marks gather and disperse in the works like iron filings drawn towards a moving charge.

The rectangular brush mark and the painting's edge recall formalism's insistence on art as object.

Each artist chooses to phrase in a different language — Colvin with a strong drawing presence in a process driven mark making, mostly on raw linen; Odita in glorifying the line with his hard - edged color fields and well - balanced compositions; and Smith by the non-denial of drawing in his free brush strokes as well as his compositional «free hand.»

His paintwork plays with our expectations of gestural mark making — drips, pours, and freely brushed elements often being revealed as controlled and lovingly - recreated representations of the «real «thing.

It's mark - making as collaboration, often with objects designed for other uses — indeed, seemingly resistant to their use as a brush or tool in an aesthetic process, but often surprisingly pliant, their resistance to control part of their enhancive effect.

As a catalogue to a 2012 exhibition of his work at the Gimpel Fils gallery observed: «For over 50 years, his work has been predicated on the conviction that non-descriptive colours, shapes, brush marks and intimated space can directly express a sense of life in its most essential form.»

I think of it too as how one comes to the final calligraphic brush mark by the repeated making of a from.

Paintings from his ground - breaking Anthropometry series will also be on display, for which Klein employed models as «living brushes» to create marks on the canvas in front of an audience, as well as Fire Paintings and Klein's later works in gold.

But from close up (a vantage point no painter can resist), the brush and paint marks appear more tentative, as if they have been reworked or rubbed out.

The latter used abstraction as an ironic paraphrase, commenting on the veracity of the brush stroke as a mark of the artistic self.

He thinks of them as «collaged» paintings — composed of a series of random brush strokes, marks and drips.

As usual she simply wanted to put brush to canvas, leaving a certain mark in a certain color and proceeding from one stroke to the next, beside or over its predecessor, until the entire surface was covered to her liking, in a process both devotional and workmanlike.

Vigorous blue brush marks add a threatening, thunderous tone to an image which at first glance appears completely abstract, in which the ostensible focus of interest, Bamburgh Castle in Northumberland, is shown simply as a blank area of paper, as though the great mass of medieval stone had been reduced to a dazzling blur of reflected light.

Filled with subtly modulated space, Tobey's paintings are unquestionably pictorial, as are the marks of his brush.

Typically characterized by precisely edged, unitary geometric forms, rigid planes of cool colours, or just a single colour, applied so as to leave no gestural brush marks, it is often based on a grid design.

They were tighter and as I go along my marks have changed and become more spontaneous perhaps and also the brushes that I use are very different, intentionally.

Rendered in thinly applied automotive paint on aluminium sheets folded at the edges to form large industrial - looking trays, these impressionistic works, with their visible brush marks and gestural drips have, as the exhibition's title hints, the feel of half - glimpsed stories, the clarity of their message faded through time.

Initially reading as the casual brushstroke of a passing giant, Ferran's painted mark falters and arcs — recording the effort of muscles holding the brush to the vertical surface, exerting pressure, imposing the will of the artist through the materials.

The modern artist, on the contrary, is attracted to those possibilities of form which include a considerable randomness, variability and disorder, whether he finds them in the world or while improvising with his brush, or in looking at spots and marks, or in playing freely with shapes — inverting, adjusting, cutting, varying, reshaping, regrouping, so as to maximize the appearance of randomness.

Neel, Fischl, and Morgan share thick, visible, clashing brush marks, a vivid response to local color, and a general sense of how to draw a face, so individualized as to become awkward and caricaturish.

SC: Expanding on this concept of your brush marks linking to music, I would like to discuss the reference to music within your publication On Knowning & Not which highlight's Neuroscientist Martin Braun's Inferior Colliculus as Candidate for Pitch Extraction.

Quick, confident brush strokes appear to rest lightly on the surface of the canvas, operating as pure mark making until the slow burn of an image makes its way to the eye.

As a bonus, next door at the other Matthew Marks gallery space on the street, a group of Kelly's open - line plant drawings (some in pencil, others traced with a delicate brush) offer a reminder of the deep commitment of this abstract genius to drawing from nature.

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

Gutai paintings were the result of a surface being heavily manipulated by human presence, in which the body is used as brush or mark - making device, resulting in a hybrid object somewhere between the act of painting and the action of the body.

This show marks the first occasion where both her paintings and body prints — her recent method of working with natural oils and pigments, using her whole body as a brush — will be shown together.

Lee Ufan makes his own minimal gesture on an opposite surface, his multi-layered brush - stroke serving as a mark of time and place, while a new suite of paintings by Stanley Whitney completes this more lyrical, meditative and philosophical section of the show.

As it says in the exhibition brochure, she picks all the battles «and plays both sides,» from dry brushed marks to impasto palette knife formations to the printed Photoshop «brushstroke» with drop shadow, and back again.

Painting metallics on top of this white primer does show brush marks, so I just avoided ugly ones as much as possible.