Sentences with phrase «by brush marks»

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.

If your grill is big enough you can grill off the pineapple by brushing on the reserved marinade and grilling both sides until softened and grill marks happen.

Cuomo's spokesman, meanwhile, brushed Green's book aside by saying «Mark's memoir should be called «Green with envy.»»

Katie from the Wellness Mama blog lost her cellulite by dry brushing, moisturizing with coconut oil, and adding more fats to her diet (see her comment on the cellulite post at Mark's Daily Apple)

I also recently send chalk paint and distress I use a wax by Watco that I brush on found it to show a chalky mark on colors items.

* Derwent studio pencils * Colourless blending or burnishing pencil * Navy blue Windsor Universal paper * Fine pencil eraser with brush tip * White carbon trace down paper: this is so I can transfer my drawing to the paper surface (you may also use a white pencil to sketch with, but be aware of not pressing too hard and creating indentations in the paper surface, or by leaving eraser marks on the surface if needing to correct your structure).

Here, the mark (or gesture) is an extension of the artist's mind, one motivated by an impulsive and intuitive process between the artist and his brush.

By marking time with a brush full of watercolor — whose density of pigment ranges from thick to thin — Farrell's works belong to that company of artists that includes Roman Opalka, On Kawara and Peter Dreher.

That's a good term, because the grid has been constructed block by block within the composition rather than imposed onto it; moreover, the color is fluid and the mark of the brush very much in evidence.

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 technique negotiated a common ground between Pollock's heroic no - brush drip style and the expanses of saturated color favored especially by Barnett Newman and Mark Rothko.

Visions: Selections from the James T. Dyke Collection of Contemporary Drawings, exhibition catalog, Naples Museum of Art, Arkansas Art Center (2007) NYArts, «Ink Scissors Paper,» by Pamela A. Popeson (July 17, 2007) Journal of Cognitive Neuroscience, Volume 19, No. 6, cover image (June, 2007) Iowa City Press - Citizen «Old Card Catalog Gets Art Makeover» by Rob Daniel (April 2, 2006) Virtual Comunidad 2005 / Now: Here: This, exhibition catalog published by Artists Unite (December 2005) Manhattan Times, «The Photography of Fleeting Moments,» by Mike Fitelson (February 2005) BLIR, Issue # 05 (September 2005) J.T. Kirkland's Thinking About Art, «Artists Interview Artists», interview by Douglas Witmer (August 17, 2005) NY Arts, «Illuminated Brush Strokes,» by Pamela A. Popeson (March / April 2004) NY Arts, «Sky Pape at June Kelly Gallery,» by Carl E. Hazlewood (November 2001) Artnet.com Magazine, Drawing Notebook, by N.F. Karlins (October, 2001) Cover, «Processing Natural Order, Sky Pape at June Kelly Gallery,» by Chloe Veltman (September, 1999) Review Magazine, «Sky Pape, Inklings: Drawings at June Kelly Gallery,» by Mark Daniel Cohen, pp 8 - 10 (June, 1999) Journal of Cognitive Neuroscience, Volume 11, No. 4, cover image (1999) ARTnews Vol.97, No. 1 «Peer Reviews: The Best of 1997» by Paul Gardner, pp 89 - 95 (1998) The Café Review, Spring issue.

Like all the works of this period, Collection is held together, across its material disunity and the variety of materials out of which it is constructed, by a grid structure derived from the modernist tradition in which Rauschenberg was trained by Josef Albers, by the drips, stains and thick brush marks that create an over-all surface, and by the similarity of value shared by its range of colors.

I was taken by the confidence and force of Yvette's brush marks, coming out of abstract expressionism yet evoking a complex interplay of contradictory marks reflecting a contemporary mood.

Be inspired by exciting painting techniques, from big, bold brush marks to canvases intertwined with thread, and then create your own expressive artworks.

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.»

Namely, the works were usually guided by the construction of pictorial space using expressive brush marks and lush colors, almost always painted on the backs of old picture frames.

Maintaining the consistency of the brushstrokes while varying the amount of paint and pressure applied, Lee keeps «expression to a minimum in order to achieve the maximum» (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3) The almost hypnotic repetition of marks that comprise From Line is created by the artist pressing a brush loaded with blue paint suspended in viscous glue directly onto the surface of the canvas, then repeating the process until there is barely any pigment left on the filaments of the brush.

Inspired by a stay in Singapore in 2015 where she taught at Yale - NUS College, Werfel began to layer stencils over her gestural brush marks.

I chose «Lazer84,» a retro brush font created by Juan Hodgson to spell out «NewsCred» across the mark.

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

By not priming the canvas first, the medium spread out from where it was originally applied, creating organic swaths of color that revealed no brush marks or other remnants of the artist's hand.

Oh, these are stylized silhouettes, but astonishing in their miniature resemblance, obtained by means of luck, iron wire, spools, corks, elastics... A stroke of the brush, a stroke of the knife, of this, of that; these are the skillful marks that reconstruct the individuals that we see at the circus.

Rendered in a vibrant palette of forest green and royal blue, overlaid by a dappled pattern of brilliant, sunset orange brush marks, In the Green Room is a stunning, large scale example of Howard Hodgkin's commitment to painting, and its emotive potential.

Light brush marks complement aggressive brush marks, defining each other with their relative differences; dense, layered, impasto surfaces lend presence to their flat counterparts; geometric or biomorphic forms are exalted by lyrical abstract markings.

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.

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.

The exhibition shows a subtle yet definite readjustment in Jason Martin's approach to his work, highlighted by the reduction of his usual vibrant colour to inflections of grey and black, ensuring our attention is honed into and focused solely on the brush mark.

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.

Surrealist artists, many of them refugees from Europe living in New York during the war years, brought with them an interest in primitive and archetypal subject matter, together with the technique of automatism, in which the artist, by relinquishing conscious control over pencil or brush, creates marks which may trigger visual or conceptual associations.

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.

Taught by David Bomberg, Oxlade remained true to Bomberg's values of authenticity in brush marks, immediacy and truth of feeling, whilst at the same time forming a unique vocabulary of his own.

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.

Magill's paintings are characterised by a rich palette and intense layered brush marks.

Caivano toys with a fluid style that is not quite abstract or representational, but leaves loose brush marks to be interpreted by the viewer.

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.

The paintings are woven from small obsessive brush - marks, reminiscent of the caked edges of a painter's pallet; where colours build - up by random application layer upon layer.

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.

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.

These works are characterised by delicate, free brush - marks that contrast with the thick impasto of the artist's early work.

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.

I'm able to get a smooth finish simply by going over my brush marks while still wet with a small dense foam roller.

Most pressure marks can be removed by gently steaming and brushing the velvet with a soft brush.