Sentences with phrase «give the paint something»

Step 1: sand down the surface to get an even and clean surface and give the paint something to adhere well to.

You actually want the gloss finish intact to give the paint something to which to cling.

If the surface of your piece is shiny give it a quick sand to open up the pores in the wood to give the paint something to adhere to.

This knocks down the shine or smoothness of the laminate finish and give the paint something to grab on to.

Not exact matches

Sacks gives us here something like a portrait painting.

If your child enjoys arts and crafts, give him something to paint or color.

I decided to try something TOTALLY different than I usually do at home... I wanted to give the «bold patterns» AND «neons» trend a try and so I painted my nails with the Chills & Thrills color and then took the end of a bobby pin and put neon green polka dots on top of the blue with the Vices Versa color!

I painted some basic white 11 ″ x 14 ″ frames in the same shade as the walls (oh wait, did I just give something away??)

Just take something you already have, or better yet, take something you want to get rid of or have in storage, and give it new life by painting it.

In playing around with paint this week I decided to give this sweet plaster angel an Old World look, like something you might find in a French Flea Market.

All paint even chalk paint needs a quick surface going over with sandpaper to give the surface some «tooth» so the paint has something to grab onto.

Happily, this film's conception of male friendship is less reliant on insults and abuse than its predecessor, and doesn't need to paint the men's wives as shrews in order to give the motley bunch something in common.

He bought his green / purple flip - painted 12 - year - old mk 1 4.0 - litre example for # 13,000, which was something of a snip given that its Speed Six engine had been fully rebuilt at 49,000 miles.

It's partly due to the flat gray paint, which is not something you see every day, and it's also due to the menacing look this thing gives off.

Building a rocket, fighting a mummy, climbing up the Eiffel Tower, discovering something that doesn't exist, giving a monkey a shower, surfing tidal waves, creating nanobots, locating Frankenstein's brain, finding a dodo bird, painting a continent and driving your sister insane are not fungible even if they're all good ways of spending your summer vacation.

Give a loved one a painted portrait he or she can hang on the wall and you'll help to create something far more valuable.

- character creation lets you choose skin color, face, eye color and haircut - later in the game you can get glasses, pants, shoes and other stuff - start off by meeting Tom Nook and his posse of Happy Home employees - this includes Lyle the Otter and Digby the Dog, who give advice and help to keep the game moving forward - Lottie the Otter is Lyle's niece and handles the front desk in the game - she welcomes you every time you boot up the game and tells you what to do next - gameplay starts off with placing furniture, but quickly evolves into something more - place a house on the world map and cycle through seasons to see what you like - house can modified with different roofs, doors, colors and more - every animal unlocks new furniture for you to use - completing a lot of requests is vital to getting a lot of content - characters will react to everything that you place and remove in the house - three pieces of furniture must be in or outside of the house and these need to implemented into the final design - if you don't follow this rule, your animal customer will not approve - add wallpaper, carpets, lamps, signs, music covers, paintings and much more - by completing special objectives in the office, which you pay for with Play Coins, you can even expand the feature set - set background sounds, choose curtains, change up furniture, display fossils and get a bigger variety of fish and paintings.

Sales are slow right now, it's cold, it's dark and I don't feel like painting, but I make myself go to my studio, whether I make something or not, I might just sit there, I might clean and organize or I might even paint... doesn't matter, you have to keep going and get in your studio, everything passes with with time, never give up and for sure, never quit.

Indeed recognising that something is a painting (for example) gives a starting point to the process of fully attending to what's there.

In 2013 NYTimes review, Holland Cotter praised Whitten for his restless energy: With a career grazing the 50 - year mark, Jack Whitten is still making work that looks like no one else's, which is saying something, given the flood of abstract painting in New York... read more... «Quick study»

He showed me his first painting, something which gave him so much pleasure at the age of 10, and gives him pleasure still.

With shards of color that jostle alongside sinewy curves and biomorphic forms in a whirlwind of shattered rhythms, they look like something James Rosenquist might paint if he gave up popular - culture sources and went to study with Hans Hofmann.

While circulating around the gallery, it is refreshing and exciting to lose context of the time, which was something that feels apt given that Houghton believed that none of the work she produced was courtesy of herself; instead, spirits of loved ones and renowned people facilitated the painting, bearing similarities to Surrealist automatism.

Two large - scale paintings depict a figure almost completely obscured by foliage, which gives the impression of something glimpsed in a dream or recreated from a lost source.

The Paintings of Joan Mitchell, a retrospective exhibition of the American Abstract Expressionist (1926 - 1992), gives devotees of painting an opportunity to do something unusual — visit the Whitney Museum of American Art.

Each painting that I love gives me something I can use in my work and something that supports me as an artist.

A combination of sculpture, painting, printmaking, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.

This application gave something of the effect of acrylic paint stained into raw canvas, a method of application that was common at the time.

If, in the United States, the vogue for landscape painting in the 19th century was in part a nostalgia for a lost wilderness — something one might associate with Benning today — for these artists, any sense of melancholic compensation gives way to a material reckoning with a damaged planet and the economies of extraction and industrialization that populate it.

Later the results seemed to signify something — but difficult to give subject or name to, and at present I find it impossible to make a direct, verbal statement about the paintings in black and white.»

At the same time, there is something else in Diebenkorn's art that is important for us to take account of - its west coast, Californian character, which gives to even his most abstract paintings the look and feel of something pastoral.

Similarly, he began in 1962 to paint on Celotex fiberboard, an inexpensive construction material with a rough surface that gives his painted works the look of something distantly recalled.

The thought of un-erasing a painted - over LeWitt is something of its own conceptual riddle, given that the artist placed the weight for his wall drawings in the ideas — in the form of written instructions — not their physical execution.

Given the recent rise of a similarly trans - cultural phenomenon in the form of Gerhard Richter's abstract paintings, there's something to be said for Contemporary artists who find a way to make lage bodies of decorative work with few barriers to interpretation or assimilation.

Their fantastic quality is offset by the sense they give us that we've already seen them, or something like them, in the world beyond the painting.

Take up something new, like painting or knitting, to give your mind a rest.

«I struggled somewhat with this new figuration in my painting, and Krazy Kat gave me something I found affecting and could use as a formal reference.

The show didn't give many people what they wanted, a look at the paintings, and instead gave them something that was difficult to engage with.

Whereas we typically paint on a rectangular flat surface, pumpkin painting gives you a chance to experiment with painting on something that is to be seen in the round, more like a three - dimensional sculpture.

At least drawings and paintings give us something that's actually there, an indication of the student's talent.»

When something hits me, or I see a painting, or... something in nature, it gives me a thing and I go for it....

Jackson Pollock named at least one painting after the novel and intended to give its name to his classic early work Pasiphae, then switched to something from Greek myth because his patron Peggy Guggenheim didn't like the Melville reference.

After his early experiments painting cartoon characters and Coca - Cola bottles in the loose, drippy style of the Abstract Expressionists, Warhol liked the grainy, slightly out - of - register images produced by a silk screen because, he said, «I wanted something... that gave more of an assembly - line effect.»

DS Well, let's say necessity... The post-war American painters in the male line of ascension, part of what gives post-war American paintings their strength, is that you know it's strong because it's part of something which is a proven strength...

The best of them use the idiom of abstract painting to objectify something that will feel recognizable to anyone given to introspection.

«With a career grazing the 50 - year mark,» Holland Cotter wrote of that exhibition in The Times, «Jack Whitten is still making work that looks like no one else's, which is saying something, given the flood of abstract painting in New York in the past few years.

Ratcliff's compendium paintings share with Ellis something of the elegant formal violence that seemed the only way to give voice to the decade that most relished acquisition for acquisition's sake.

Her view of the film is completely depersonalised, and as distanced as it is possible to get, given that pornography always implicates its consumers, in a way that the best landscape painting says something about our relationship to nature.

Anyways, I was given a solo show at Gagosian, and not long after that the Saatchi gallery in London — that was a group show, but I had something like ten huge paintings in it — 8 x 8 feet and larger.

I remember something I said when I gave a talk for a show I was in about ornament and abstraction in contemporary painting... I said that I wanted to make a painting with the seduction of a pink angora sweater and the power of a Barnet Newman.