Sentences with phrase «color texture onto»

Not exact matches

The fungus grows directly onto the corn kernels and has a grayish white color that is quite similar to mushrooms with a soft and velvety texture.

The colors and crinkly sounds are enticing to them (kind of like the sound of a potato chip bag being wrinkled) and their soft texture makes them easy for even a new baby to grab onto.

I took the brown colored pencils and tapped it repeatedly onto the yellow circles to give them the «texture» of tacos.

The texture on this blush was firm and a little stiff, which resulted in sheerer color payoff; however, it blends beautifully onto the skin.

Las Vegas Weekly, The Barrick's «Plural» Teams Local and International Artists for an Engaging Show, April 26, 2018 East Hampton Star, 23 Successes in «A Radical Voice», Jennifer Landes, March 20, 2018 Elle Décor, «Hitting Her Groove», Kate Betts, September 2014 Hamptons ArtHub, Best Exhibitions of 2013», December 2013 Hamptons ArtHub, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, September 2013 WhiteHot Magazine, «Almond Zigmund: Interruptions Repeated», Janet Goleas, September 2013 Huffington Post, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, August 2013 Elle Décor, «Arbiter of Style», Cynthia Frank, May 2013 NY H&G, «Mondo Condo» May 2013 Long Island Pulse, «Artist VIP», Nada, August 2011 Southampton Press, «Shifting Perceptions in Parrish Installation», Pat Rogers, November 8, 2007 East Hampton Star, «An Artist «Remembers the Future»», Jennifer Landes, November 1, 2007 East Hampton Star, «Industrial Strength Beauty, Jessica Frost, July 19, 2007 Las Vegas Sun, «Coloring Her World», Kristen Peterson, February 24, 2006 Southampton Press, «Tracing the Genealogy of Ideas», Eric Ernst, December 15, 2005 Columbus Dispatch,» Texture Enlivens Minimalist Exhibit», Kaizaad Kotwal Sunday, July 17, 2005 Southampton Press,» Avram Gallery Offers Quiet Space for Show», Eric Ernst, Nov. 25, 2004 Los Angeles Times, «Sweet Nostalgia Projected Onto Metal», Holly Meyers, Feb 1, 2002 Flash Art, «Aperto», David Pagel, March - April 2002 Art in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustration

After she painted on the acetate with acrylic polymers, it was mounted onto colored plexiglass, a process that results in irregularly textured, sometimes slightly bubbly surfaces.

And while there are some surface - level congruities to Grant's selection and her paintings (color, form, texture), I wonder how accurate that really is, or rather is it just me projecting my thoughts onto them?

He swung immediately to an opposite extreme of color and texture, using black paint to cover newspaper glued onto canvas to make a crusted surface.

Created by spraying paint onto canvas through carefully positioned swathes of gauze, this select series of works develops the innovative technique deployed in Stingel's silver paintings of the early 1990s, and distinguishes itself through striking color, richly variegated tactile texture and intricately detailed surface pattern.

When exhibited, the works are always nailed directly onto the wall, along their top edges; while stored or traveling, the un-stretched canvases are folded into precise sections, creating geometrical creases that evolve over time, enriching the overall composition as the texture of canvas engages with color and line.

However, the gritty daily experiences of São Paulo, one of the most populated cities in the world, find their way onto the canvases bringing with them a density of texture, color, grids and hand - lettered scrawl... the canvases can hardly be considered «predominantly white» anymore.

For example, there is the evocative imagery that can result from Maine's own process of stamping carpet textures onto canvas; or the «acrylic, stains, and spray paint on wood panel» by Jaq Chartier that somehow come to resemble photographic emulsion; or the acrylics on canvas by Thomas Pihl of subtly gradated color that seem like translucent screens of light.