Sentences with phrase «etching plates with»

Twachtman also learned etching, and sometimes carried etching plates with him that he could use to spontaneously record a scene.

Scratches are marks that characterize an etching in its most traditional form: an artist scratches into a wax coating on a copper plate, and then etches the plate with acid.

In one example Hockney emblazons the etching plate with the defiant words «queer» and «queen».

Not exact matches

Let her bundle and secure the Precious Moments figurines, silver - plated baby rattles and glass - etched photo frames with 48 feet of bubble wrap and six pounds of packing paper.

The aluminium plates in the foreground of the picture were treated with the etching process «nanoscale - sculpturing» before being glued.

It contains a piece of glass the size of a microscope slide etched with 50 tiny channels and covered with another glass plate.

Etched wood fish with cabochons reflects tropical esthetic Panto wood Glass cabochons Nickel - free gold - plated pewter hardware Brass screws Length, about 5» Post back Imported.

Designed with a timeless simplicity and elegance, this silver - plated album from kate spade new york is thoughtfully etched with «Mr. and Mrs.» text, making it the perfect choice for holding cherished wedding photos.

Designed with a timeless simplicity and elegance, this silver - plated frame from kate spade new york is thoughtfully etched with «Mr. and Mrs.» text, making it the perfect piece for displaying a cherished wedding photo.

Strictly limited to eight models the V12 Vantage S Spitfire 80 makes its excellence clear with unique Q by Aston Martin styling to match original Spitfire aircraft celebrating 80 years of this magnificent aircraft and Great British Engineering Seats In Kestral Tan stitched in Raven Black Corse Thread Dashboard In Pure Black Alcantara Stitched in Kestral Tan Corse Thread Carpets & Steering Wheel In Pure Black Exposed Satin Carbon Fibre Door cards with «Release» Graphic Door Armrest Pad Assembly in Kestral Tan Door Armrest Pull Strap In Red Webbing with «Remove Before Flight» print Interior Door Pull Finished In Satin Black Anodised Handbrake Grip In Spitfire Red Anodised Centre Rotary Switch With RAF roundel And «Spitfire 80» etching Rear Cabin Finisher — Aluminium Strip — Hole Punched to match strut behind pilot's head in Spitfire (part made by Aircraft Restoration Company Duxford) Tread Plates And C - Struts finished in «Cockpit Green» As Well As Under Bonnet Struts Spitfire 80 Logo Embroided Into Headrests Sat Nav «Splash Screen» With Spitfire 80 Logo Printed Leather Headlining Of Duxford Aerwith unique Q by Aston Martin styling to match original Spitfire aircraft celebrating 80 years of this magnificent aircraft and Great British Engineering Seats In Kestral Tan stitched in Raven Black Corse Thread Dashboard In Pure Black Alcantara Stitched in Kestral Tan Corse Thread Carpets & Steering Wheel In Pure Black Exposed Satin Carbon Fibre Door cards with «Release» Graphic Door Armrest Pad Assembly in Kestral Tan Door Armrest Pull Strap In Red Webbing with «Remove Before Flight» print Interior Door Pull Finished In Satin Black Anodised Handbrake Grip In Spitfire Red Anodised Centre Rotary Switch With RAF roundel And «Spitfire 80» etching Rear Cabin Finisher — Aluminium Strip — Hole Punched to match strut behind pilot's head in Spitfire (part made by Aircraft Restoration Company Duxford) Tread Plates And C - Struts finished in «Cockpit Green» As Well As Under Bonnet Struts Spitfire 80 Logo Embroided Into Headrests Sat Nav «Splash Screen» With Spitfire 80 Logo Printed Leather Headlining Of Duxford Aerwith «Release» Graphic Door Armrest Pad Assembly in Kestral Tan Door Armrest Pull Strap In Red Webbing with «Remove Before Flight» print Interior Door Pull Finished In Satin Black Anodised Handbrake Grip In Spitfire Red Anodised Centre Rotary Switch With RAF roundel And «Spitfire 80» etching Rear Cabin Finisher — Aluminium Strip — Hole Punched to match strut behind pilot's head in Spitfire (part made by Aircraft Restoration Company Duxford) Tread Plates And C - Struts finished in «Cockpit Green» As Well As Under Bonnet Struts Spitfire 80 Logo Embroided Into Headrests Sat Nav «Splash Screen» With Spitfire 80 Logo Printed Leather Headlining Of Duxford Aerwith «Remove Before Flight» print Interior Door Pull Finished In Satin Black Anodised Handbrake Grip In Spitfire Red Anodised Centre Rotary Switch With RAF roundel And «Spitfire 80» etching Rear Cabin Finisher — Aluminium Strip — Hole Punched to match strut behind pilot's head in Spitfire (part made by Aircraft Restoration Company Duxford) Tread Plates And C - Struts finished in «Cockpit Green» As Well As Under Bonnet Struts Spitfire 80 Logo Embroided Into Headrests Sat Nav «Splash Screen» With Spitfire 80 Logo Printed Leather Headlining Of Duxford AerWith RAF roundel And «Spitfire 80» etching Rear Cabin Finisher — Aluminium Strip — Hole Punched to match strut behind pilot's head in Spitfire (part made by Aircraft Restoration Company Duxford) Tread Plates And C - Struts finished in «Cockpit Green» As Well As Under Bonnet Struts Spitfire 80 Logo Embroided Into Headrests Sat Nav «Splash Screen» With Spitfire 80 Logo Printed Leather Headlining Of Duxford AerWith Spitfire 80 Logo Printed Leather Headlining Of Duxford Aerodro

Overview and Description Standard features: Exterior: · Shelby hand laid fiberglass · Shelby etched door handles · Shelby sill plates, logos, and badge · Original Halibrand style pin - drive wheels Interior · Black Shelby signature leather seating · Glove box · Air conditioner & heater with multi fan speed settings · Multipoint

The prints go though the flatbed etching press twice — once with the inked up plate for the landscape a second time when the print has dried to add the dot and then an encaustic veneer or varnish is added last, so they are encased in wax.

Created from a variety of source materials — including carved wooden doors, acid - etched metal plates, styrofoam dioramas, hand - carved billboards, and newly developed concrete sculptures -, the work presented in Annihilation engages with the urban context.

Louise Bourgeois, The Unfolding, 2007 Soft ground etching with selective wiping, and wash, black crayon, and pencil additions plate 58.875 x 35.563, sheet 59.625 x 37.813 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, La Famille, 2006 hard ground etching with hand additions plate 55.625 x 16.8125, sheet 59.5 x 20.125 inches edition of 11 published by Osiris Editions, printed by Wingate Studio

The works, suspended plate - glass sculptures internally etched with images of clouds, share Isamu Noguchi's interest in sculpting ephemeral materials, and in using them to shape space.

Louise Bourgeois, The Smell of Eucalyptus (# 1), 2006 Soft ground etching with black crayon, gray watercolor wash, and pencil additions plate 55.25 x 30.75, sheet 59.125 x 34.5 inches edition of 19 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, My Inner Life, 2008 hard ground etching with hand additions plate size 59.6875 x 35.5625, sheet size 59.6875 x 38.5 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

On view April 25 — August 19, 2018, the works — suspended plate - glass sculptures internally etched with images of clouds — evoke Isamu Noguchi's interest in sculpting ephemeral materials, and in using them to shape space.

Barbara Takenaga, Falling (blue concentrate), 2017 five plate aquatint etching with soap ground and hand painting by the artist 33.125 x 25.875 inches edition of 25 published by Wingate Studio

Louise Bourgeois, Turning Inwards, 2008 Etching with hand additions plate 59.438 x 31.5, sheet 59.438 x 35.5 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

On the wall, left to right, «Swelling (# 3)» a handworked etching from 2008, and «Swelling» (2007), a diptych of etchings with fewer hand additions, all made from the same plate.

The Circuits prints are relief prints, the consequence of relief - printed woodblocks variously combined with relief - and intaglio - printed etched plates, some of which, notably in Pergusa Three, were embedded into the woodblocks.

Robert Kushner, Blue Iris, 2017 five plate aquatint etching with sugar lift, soap ground, and spit bite plate size 24 x 24 inches, sheet size 30 x 30 inches edition of 30 published by Wingate Studio Purchase / Inquire Project and Artist Info

A week - long exploration working in intaglio to create multi color prints from one copper plate, combining traditional etching process with a la poupee inking, mono printing, chine colle, with the option of using a woodblock as a second plate / matrix.

A sequence is established here: a proof printed in black, overworked with paint and graphite, followed by further work on the plate, and a new stand - alone etching that is not meant as part of an edition, but as a new moment of thought.

Original etching with drypoint printed in black ink on wove paper Hand - signed in pencil in the margin lower right Kandinsky, also signed and dated in the plate with the artist's monogr...

Over the past several years, I've had an ongoing obsession with the etching plate, and what function it can serve once it is no longer needed for printing.

Marjorie Van Dyke is a master printer and an artist and was able to help me with process and also let me do my own thing while making the etching plates.

The fluid sugarlift mixture makes it possible to create a brushlike mark as compared to intaglio etching, where the plate is cut into with a sharp tool.

Laurie Reid painted with acid directly onto a copper plate to create delicate, looping curves in «First Verse,» 2000, while Sol LeWitt made his loops and curves by drawing into hard ground wax with a sharp, etching needle in «Small Etching / Black & White No. 5,»etching needle in «Small Etching / Black & White No. 5,»Etching / Black & White No. 5,» 1999.

In the Crown Point studio artists make marks on copper plates, and printers ink and print each plate with an etching press — a slow, layered process still completed by hand and technically unchanged from its 15th century invention.

Martin Puryear, Quadroon (1966 — 67), soft ground etching and aquatint with plate tone monotype on paper, 22 1/4 x 22 inches.

The black, glistening drips, now a signature device in his installations, date back to Wilson's stint as an artist - in - residence at the Pilchuck Glass School in Seattle in 2001, where he worked with master glass blowers to come up with a three - dimensional equivalent of black drops on an etching plate.

(Intaglio is the technique of cutting into a metal plate directly; in etching, the artist works on a plate covered with an acid - resistant wax.)

Hint: a copper plate is coated with a light sensitive material which had been exposed to a film positive, and then etched.

It was during this time that Ku started using copper plate etching and experimenting with the creative outlet of collage techniques.

Unlike woodcut that requires chisel, or etching that requires acid, lithograph allows Shinoda to work directly and spontaneously on the plate with her fluid brushstroke.

Signed «Edward Borein» in pencil l.r. Etching on cream wove paper with Navarre and 1547 watermarks, plate size 9 1/8 x 12 1/8 in.

Left: Quadroon, 1966 — 67, Soft ground etching and aquatint, in black, with plate tone monotype in brown, on cream wove paper.

Right: MLK Elegi, 1968, Soft ground etching and aquatint on shaped plate, with burnishing, printed in brown on ivory wove paper

Open - bite etching in brown and orange relief with brown plate, tone throughout on Arches cream wove paper.

Employing the traditional copper plate etching process over the past year and a half, in collaboration with master printer, Dan Waller, Jacobs has carefully rendered some, while allowing others to evolve through chance or accident.

Through a generous loan from Sweden's Nationalmuseum, twenty plates from Goya's original edition of etchings will now enter in direct dialogue with the Chapman brothers» works.

Free Wheeling, 1971; Etching with hand - painted acrylic colors on White German Copperplate paper (unique); Signed, dated and noted Printers Proof; 30 5/8» x 21 5/8» (plate); 42 1/8» x 30 1/8» (sheet); Literature: Harrison 31; Berggruen 32; Clark 35; ULAE 21; NGA 18; Provenance: The artist; Donn H. Stewart, thence by decent; Private Collection Signed, dated and noted printers proof in pencil lower recto.

Etching 247 x 197 (9 3/4 x 7 3/4) on Saunders paper 388 x 299 (15 1/4 x 11 3/4); plate - mark 247 x 197 (9 3/4 x 7 3/4); watermark «T H SAU [NDERS ENGLAND]»; printed by the artist; not editioned Printed inscription «richard h working» b.l. of image; stamped with the artist's monogram «f» below image b.r. Repr: [Elizabeth Knowles (ed.)-RSB-.

In Poems of Our Climate, Saunders presents a series of new oil on chiffon paintings, copper - plate etchings and photographs, along with a large - scale animation installation.

HELEN FRANKENTHALER A Page from a Book: Plate III etching with aquatint and pochoir in colors, 1997, on TGL handmade, signed in pencil, numbered «AP 13/16» (the edition was 60), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, with full margins, small rubbed areas on and below the signature, hinged to the support in places at the reverse of the margin edges, otherwise in very good condition, framed P. 4 13/16 x 21 1/2 in.

Becky Allen: Descent (detail), copper etching plate, 60.5 x 45.5 cm, 2012 with #robertkelly #pietmondrian and #gabrielorozco reflections, all part of The Humble Black Line, our current exhibition @framelessgallery #clerkenwell #london @beckymallen @isidoreajar @jonathanmeyerstudio @pdeller @carlachaim @staggeringbee @rodrigo.

Richard Diebenkorn High Green, Version II, 1992 Color spit bite and soap ground aquatints with soft ground and hard ground etching and drypoint Plate: 39 3/4 x 22 7/8 inches Sheet: 52 3/4 x 33 3/4 inches Edition of 65