Sentences with phrase «chalk ink pen»

Then I filled the outline in with a chalk ink pen.

I used the white chalk ink pen here also because it seemed to work best on the wood.

The wood was soft, so I was able to trace a print out of the words with pencil and then fill it in with a while chalk ink pen.

You could also use paint pens or chalk ink pens

Not exact matches

The pen replaced ink and the touch screen has replaced the blackboard and chalk by white board markers or remote controllers.

John D. Graham, Head of a Woman, 1954, oil, chalk, ballpoint pen, colored pencil, pencil, brush, pen, and ink on tracing paper, 24 1/4 x 18 7/8 inches (Collection of Leonard and Louise Riggio, New York.

In these later works, incising into wet enamel gave way to drawing with pen and ink, or chalk on ink wash backgrounds, to which gesso was sometimes added.

Henry Moore (1898 - 1986) Ideas for Sculpture, 1940 Crayon, pastel, pencil, chalk, watercolor, pen and India ink on woven paper 17 x 10 in.

He worked extensively in black chalk before adding pen, ink, wash, and sometimes red chalk.

From portraits, figure studies, and landscapes to mythological and biblical narratives, the drawings represent a dynamic array of sacred and secular subjects in media ranging from metalpoint, pen and ink, and chalk to graphite, pastel, and charcoal.

Jan Bruegel (1568 — 1625), A View of the Tiber in Rome with the Ponte Sisto and Saint Peter's in the Distance, ca. 1594, pen and brown ink and wash and blue watercolor over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.20.

Image: Nicolas Poussin (1594 - 1665), The Holy Family on the Steps, pen and brown ink, brown wash, with touches of gray wash, over black chalk, on paper.

• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»

Ojih Odutola tells The Creators Project, «In the fall of 2013, I began expanding my material investigations in the studio — from working exclusively in pen ink and pencil to include charcoal and chalk pastel — which ultimately transformed my studio methodology and choice of subject in the realms of portraiture.»

At this time, Moore begins to use experimental techniques whilst drawing from life; this is one of the earliest instances of his combination of pen, ink, chalk and wash.

As well as landscape - in the form of oil painting and watercolour painting, - Wilks executed a number of portraits, genre - paintings and drawings in pen and ink, pencil and chalk.

HMF 1845 Pink and Green Sleepers, Pencil, wax crayon, coloured crayon, chalk, watercolour wash, pen and ink, The Trustees of the Tate Gallery, London: presented by the War Artists» Advisory Committee 1946.

HMF 78 Standing Nude Girl, One Arm Raised, Chalk, pen and ink, crayon, wash, the Henry Moore Foundation: gift of the artist 1977.

Image: Leonardo da Vinci, Sheet of Studies [recto], probably 1470/1480, pen and brown ink over black chalk on laid paper, The Armand Hammer Collection, 1991.217.2.

Peter Paul Rubens (1577 — 1640), Angel Blowing a Trumpet, Facing Left, ca. 1617 - 20, black chalk, white chalk with wet brush, pen and black - brown ink, squared in black chalk, purchased as the gift of the Fellows with the special assistance of Mr. Walter C. Baker and Mr. and Mrs. Carl Stern, The Morgan Library & Museum, 1957.1.

, Virgin and Child with Saints in a Landscape, ca. 1500 — 1510, pen and brown ink and wash over red and black chalk, Thaw Collection, The Morgan Library & Museum, 2006.46.

Nicolas Poussin (1594 — 1665), The Holy Family on the Steps, pen and brown ink, brown wash, with touches of gray wash, over black chalk, on paper.

Jacob Jordaens (1593 — 1678), Christ Among the Doctors, ca. 1663, watercolor and opaque watercolor, red and black chalks, charcoal, red chalk with wet brush and pen and brown ink, sheet extended by the artist on both sides with vertical strips; purchased by Pierpont Morgan (1837 - 1913) in 1909, The Morgan Library & Museum, III, 170.

Jacques Stella (1596 - 1657), The Angel Appearing to St. Joseph in the Carpenter's Shop, the Virgin Reading Beyond, ca. 1640, pen and brown ink, gray wash, over black chalk.

Jacques Callot (1592 ---1635), The Miracle of St. Mansuetus, ca. 1621, pen and brown ink and brown wash over black chalk.

Claude Gellée, called Claude Lorrain (1600 — 1682), Apollo Watching the Herds of Admetus, 1663, pen and brown ink and wash, heightened with white gouache, over black chalk.

Rembrandt van Rijn (1606 — 1669), Four Musicians with Wind Instruments, ca. 1638, pen and brown and black ink and brown wash, and red and yellow chalk, Thaw Collection, The Morgan Library & Museum, 2004.42.

Jan Bruegel (1568 - 1625), A View of the Tiber in Rome with the Ponte Sisto and Saint Peter's in the Distance, ca. 1594, pen and brown ink and wash and blue watercolor over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.20.

Albrecht Dürer, Male Nude (recto), c. 1513, pen and brown ink, traces of preliminary drawing in black chalk, 26.8 x 18.3 cm (10 1/2 x 7 1/4 in.)

Nicolas Poussin (1594 — 1665), The Holy Family on the Steps, 1646 — 48, pen and brown ink and brown wash, with gray wash, over black chalk, on paper.

Peter Paul Rubens (1577 — 1640), Angel Blowing a Trumpet, Facing Right, ca. 1617 - 20, black chalk, white chalk with wet brush, pen and black - brown ink, squared in black chalk, purchased by Pierpont Morgan (1837 - 1913) in 1909, The Morgan Library & Museum, I, 233.

Giovanni Domenico Tiepolo (1727 — 1804), Scene of Contemporary Life: The Picture Show, 1791, pen and brown and black ink and wash over black chalk, Thaw Collection, The Morgan Library & Museum, 2017.253.

Nicolas Poussin (1594 — 1665), Death of Hippolytus, 1645, pen and brown ink and wash over black chalk.

Claude Gellée, called Claude Lorrain (1600 — 1682), The Sermon on the Mount, 1655, pen and brown ink and wash over black chalk.