Sentences with phrase «brush marks made»

Reed: Often in new paintings I'm using horizontal brush marks made with the painting on the wall showing the effects of gravity and also working on them flat, on Leo Steinberg's flatbed — no gravity.

Not exact matches

The Guadalupe image is made from everyday paint, the kind typically used by artists in the 1500's, and even shows brush strokes and perhaps pencil marks.

Brush each piece of naan with a little olive oil and grill each side to crisp it up and make nice grill marks.

However more often than not he makes passes that don't meet their mark and is easily brushed off the ball.

Then, I use a slanted brow brush to blend my eyebrows in for a more refined shape, and use the spiral - bristle brush (spoolie) last to make sure all my little hairs are going in one direction and soften any harsh or dark markings!

The paint is really thick and made to show brush marks unless it's thinned.

On the other hand, when I wanted to make a smooth white look over brown wood it needed many layers nevertheless the brush left long marks on the wood and it was ugly.

The cover is made out of a brushed leather that marks easily, but I feel only adds to the appearance.

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's just to demonstrate the different marks they make - or how similar some of the marks are with a different brush!

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.

In Cecily Brown's Sweetly Reminiscent, Something Mother Used to Make, 2013, brush marks and body parts, paint and flesh, begin to dance in a contemporary bacchanal.

«The paint goes on the brush and you make the mark... With the squeegee you lose control.»

The mark - making of his brush strokes and minimal form are attempts to capture a sense of place and time within the viewer's aesthetic.

Get up close and you can see the small brush marks and the history of their making.

There seemed to be something in the nature of the brush that aligned with his measured yet exuberant (and often calligraphic) mark - making.

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.

The strokes were made with a brush loaded with red or black and painted directly onto a wet ground; we can see the speed of the mark, the downward pull of gravity, and the drips where they meet.

An exciting energy is conveyed in his gestural brush stokes and mark making.

During that same time I had started working on paper, doing something quite different: I was making marks, I was tearing up pieces of paper, I was moving paint from one drawing to the next, I'd use a roller, I'd use a paint brush.

While I walked my dogs in the woods I noticed that all the trails were marked with these white or blue signs made with a single brush mark, placed at eye - level on trees!

This month explore brush strokes, blots, and dots to learn how artists make their mark in different ways in the exhibitions Fast Forward: Painting from the 1980s and Human Interest: Portraits from the Whitney's Collection.

SM: Well, before I went to Chelsea I was making abstract painting — a colourful brush mark usually, or palette knife.

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.»

Palileo demonstrates mark - making, brush work and composition techniques to create a painting that brings your family into the scene.

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.

We follow the brush marks to try to trace back the making process, to analyse the sequence of colours and lines, but it is when we move away from this analytic way of looking to one that is more intuitive and start to enjoy the play of light and colour, transparency and opacity that we become conscious of where the power of Frize's painting lies.

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.

Klein used the pigment in many of his best - known works, including monochrome paintings, sculptures, and his Anthropometries, for which he would paint nude female models with IKB, then use the «human brushes» to make marks on paper and canvas, all in front of a live audience.

Students will be encouraged to use alternatives to brushes for their mark making.

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

Here it is being applied to the lightness of touch deployed in a brush stroke or a mark made on a surface for expressive effect.

Usually filled with evenly applied and saturated color, in «Luster» the paintings again diverge from earlier work through visible brush marks that leave an imperfect, textured, and varied surface making evident the process of paint application.

Palileo will demonstrate mark - making, brush work and composition techniques.

After building up the surfaces with countless layers of acrylic, she began to paint — a meticulous yet imprecise process of mark making, erasure, and loosely rendered brush strokes.

He's great on wet paint, especially in his descriptions of Albert Oehlen's brushwork --» grids of dots, and passages of fluid, slashing brush marks «bundled» like kindling... veils, which are often made from dirty turps and some interesting, jewelescent earth tones, give the paintings the feeling of being seen from inside a sock.»

The border between the bands is marked by one or more lines, each a single color, generally the width of the brush he uses to make the line.

Driven by the same instinctive approach, the painter Franz Kline developed a much different Action Painting technique, utilizing large house - painting brushes and cheap house paint to make wide, confident marks across the surfaces of his works.

In one after another of the 17 canvases that make up the exhibition, the marks of Edgar's brush intersect and collide with a grace that's hard to account for.

What appear to be linear marks and ripples made by dragging the stick - end of a brush through wet vinyl paint, like an act of vandalism tearing through a pristine surface, is in fact a tour de force of illusionistic paint - handling.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

Olson is particularly interested in the art of tool - making and will often forgo the use of traditional brushes and palettes, opting instead for unconventional tools that he collects or constructs for their unique mark - making potential.

I apply brushstrokes in multiple directions so that light, hitting the ridges or marks made by the brush in the paint, causes some areas to read matte and some glossy.

This vertical painting technique allows Verdier's mark making to be a product of the body moving freely, not restricted by the weight of the brush, playing with gravity.

On the other hand brush marks are indexical traces of the painter in the act of painting, making these paintings, at another level, self - portraits of the artist.

Many painters have explored the age - old technique of making marks without a brush.

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.

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.

Each layer will remain a sketch, often visible through the one that covers it.33 Painting will create a whole from parts in an unsettled and unsettling relationship.34 The resonance between body and landscape will reverberate thorough choices of browns, pinks, reds, and whites.35 Painting will be irresponsible to gravity.36 A gestured brush drawing on top of painted forms will define and relocate specific contours.37 The painting will be waiting to be recognized.38 The painting will bear the marks of its making.39 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.