Sentences with phrase «flat painted surfaces»

Blend block colours of different textures — such as flat painted surfaces, denim - like upholstery and herringbone weaves — with mini hand - block designs and graphic repeat - patterns for a sophisticated style fusion.

Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.

Not exact matches

Purchased plain white T - shirt of good quality (in grandma's size and toddler size) Different colors of fabric paint Old plastic containers Flat work surface covered in newspaper

It is easy to imagine how someone in prehistoric times might have placed their hand on a flat surface to apply body paint, and noticed the pattern left on the surface afterwards, leading to the making of hand stencils and then to drawing outlines.

It is easy to find (check HD, Lowes or Amazon), fairly inexpensive, I can easily get into corners, and I like a flat surface for pulling my paint across a piece.

All I did was spray paint the gold trim using a flat black paint that is designed for high heat surfaces.

Hold the pumpkin so that the surface where you are painting is flat so that the paint doesn't drip too much.

Using a sponge brush or sponge roller, cover the flat surface with chalkboard paint.

Step 1: Lay your necklace flat on a surface of your choice (I used a paper bag) and lightly spray your white spray paint until it's evenly coated.

It further looks at Leonardo's example and how he developed this linear perspective but then continues with the development of chair - scuro (light to dark shading) and their oil paint blending to continue developing the illusion of reality on a flat surface in their Still life paintings.

They're just looking for a flat surface to paint a logo.

A brightly painted surfboard bearing eco-friendly messages greets you at Three Tables Beach, named for the trio of flat reef formations peeking above the ocean's surface.

Essentially, MNR translates track building into «paint driving» - you paint down a track as you drive over a flat terrain, adding other elements like surface textures, water, mountains, trees, and weapon items later.

The paint handling is soft; the surface of the linen is rubbed or scraped flat and smooth, but the color is dappled rather than flat, which lends a slightly nocturnal or surreal cast - these may have been painted by day but they were conjured by night vision.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

In his abstract expressionism, each canvas is filled edge to edge with grand strokes, creating a simplistic portrait with a deeper texture, as the dry paint occasionally adds a physical dimension to what can be considered a flat surface.

The dragging and scraping of the grey paint with a palette knife creates a soft surface in opposition to the hard - edged and flat shapes.

I know that's true of any painting (the famous Maurice Denis quote immediately springs to mind: «It should be remembered that a picture — before being a warhorse, a nude, or an anecdote of some sort — is essentially a flat surface covered with colours assembled in a certain order») but I have a heightened sense of it here.

There is this side of your painting that evokes the notion that a painting is a flat surface.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

When I first saw Katharina Grosse's paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat — that they looked better on the computer screen than they did at the gallery.

So does solving the modernist problems of painting on a single flat surface.

Here's Patrick Heron's take on it: But the secret of good painting — of whatever age or school, I am tempted to say — lies in the adjustment of an inescapable dualism: on the one hand there is the illusion, indeed the sensation, of depth; and on the other there is the physical reality of the flat picture - surface.

In the eighties her paintings on the flat surface moved into space as wooden canvas - covered environments, evolving into paintings into which one could literally walk.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

From a distance, the paintings appear static, each canvas a flat surface rendered in a single vibrant color.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

It opens to anything... Actual space is intrinsically more powerful and specific than paint on a flat surface» (D. Judd, «Specific Objects», Arts Yearbook 8, 1965).

Right from the very start, he reacted against the popular expressive use of paint by most artists of the abstract expressionist movement, instead claiming that opting for flatter surfaces normally found in the arsenal of Barnett Newman or Jasper Johns.

In the 1960s, English painter John Hoyland's Color field paintings were characterised by simple rectangular shapes, high - key color and a flat picture surface.

From smeared paint to collaged fabrics, its artists treat flat surface as three - dimensional substance.

Which is almost like the way Ad Reinhardt's paintings work; there's a lot of difference in them but when you first encounter one of his black paintings, it just seems to be a solid black, flat surface.

In the case of painting, this meant escaping bourgeois fantasies of perspective and recognising that painting's reality is that of a flat object; a surface.

Many of German - born Silke Otto - Knapp's paintings, drawings, and prints are inspired by the choreography of ballet and modern dance; her compositions are often populated by flat figures that appear to float on the surface of her canvases.

Furthermore, he insisted that the painting is nothing more than a flat surface with some paint on it, completely avoiding any symbolic qualities that some believed are the essential core of the painterly compositions.

The stroke-less, «flat» surface look of his poured paint invites the viewer to consider the place and time that the paint dried and found its way from the vessel to the end composition, a dimension that feels — much like love itself — at once spontaneous and inevitable.

«With a painting, people expect paint on a canvas or pigment in liquid on a flat surface, I'm trying to do something different.

Thickly painted forms interact with squiggly lines and flat surfaces to create a type of abstraction that knowingly flirts with Pop art.

They were similar to the «Black Paintings,» which preceded them, but I used metallic paint instead of black, which made the surface flat and nonillusionistic.

Arthur Dove traces the artist's career from the Fauvist - inspired Still Life Against Flowered Wall Paper (1909) to the monumental Flat Surfaces (1946), painted in the year of the artist's death.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

Even his flattest abstractions possess a gravitas of the paint surface and a sheer weight as objects.

Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the «flatter» surfaces of Barnett Newman's work and the «target» paintings of Jasper Johns.

From Odita's perspective, the flat surface of his paintings further suggests a «ground of whiteness» that exists prior to the application of color.

One of the most influential European graffiti artists, best known for breaking the dimensionality of the flat surface graffiti was painted on, took over the entire gallery space by creating site - specific audio - visual installation.

Hume favors bold shapes, flat planes of color, high gloss paint, and reflective surfaces.

Yet, if this programmatic statement of multiple colors stood for Rauschenberg as the beginning of an engagement with painting, it also signaled the conclusion of painting as a modernist practice oriented to the progressive reduction toward an «essence» of color applied to a flat surface.

Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.

One of the celebrated Japanese artist Yayoi Kusama's seminal series of paintings called Infinity Nets, the undulating paintwork summons volume and light from the flat surface plane.