Sentences with phrase «give your paint colour»

Little Greene's Cool Arbour has a cool and slightly greenish tint that gives this paint colour an earthy almost stone - like look.

Not exact matches

Once it was dry I dished out some paints for J to paint Humpty — I'm starting to give him the 3 primary colours and a white at each painting session and he painted humpty with red and mixed up some green to paint it as well.

He happily painted the green onto the leaves and then I let myself go wild and gave him a mix of different colours on the plastic lid and we both sat down and painted together.

To add to the fun — give your children some paints to play with made of just shaving cream and food colouring.

I poured different coloured paint onto a plastic picnic plate for Emily, covered the floor and her clothes the best I could, then gave her the canvas and the plate and let her do her own thing!

This time I gave him 3 different colours from the ELC bright finger paints as they worked well with the coloured paper that we were going to use.

I can also tell my hon. Friend that it would cost almost # 1.7 million to repaint the nation's 115,000 post boxes, and given that Royal Mail has 300 litres of red paint in stock I think he can sleep easily in his bed at night about the colour of our post boxes.

They are painting all sorts of colours and giving you all sorts of claims that they can not defend.»

For her third Painters in Residence project Agnieszka applied Chalk Paint ® decorative paint in a sumptuous range of colours, heavily distressing the piece to give it this rustic look.

The Chalk Paint ® colour card uses real paint swatches to give you an accurate colour sample, with a history of each colour.

® colour card uses real paint swatches to give you an accurate colour sample, with a history of each colour.

Then using a wooden crate that I had from Typo I gave it 2 coats of my milk coloured chalk paint and then distressed.

We put in so much effort into making our house look good — everything from the colour scheme of the paints used to various house décor items are given serious consideration before you can get them home.

And you can have so much fun with the way it looks — you can give it a white - wash, stain it or paint it a bright bold colour.

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WEEKLY PLAN 1 — To look at the elements of Art and begin to do basic line exercises and learn about Cubism 2 - To learn about Colour theory and do do a colour - wheel painting and give a definition for cColour theory and do do a colour - wheel painting and give a definition for ccolour - wheel painting and give a definition for colourcolour.

Creative Abstract Art Activity Templates with coloured examples and photographs, using watercolour paints, oil pastels, felt tip pens to give you ideas of how to use them a) hidden acorn in squares b) hidden acorn in diamonds / triangles c) hidden oak leaf in squares d) hidden oak leaf with random lines e) hidden maple leaf with random lines f) hidden apple in squares 4.

The «Rosso Veneno» paint job is unique to the Roadster, although given the humongous price tag, you can naturally spec it in any colour you like.

An expertly tailored Diavolo Red exterior paint colour gives way to an interior that includes a full carbon fibre centre stack, exquisite saddle leather detailing and the now synonymous Q by Aston Martin badges.

Especially, given there are only four paint colours from which to choose.

What makes it stand out is the combination of colours of the dual - tone paint scheme which also gives a floating roof effect.

• Exterior design refined on an evolutionary basis with hallmark styling, proportions and body structure; characteristic design features such as hexagonal radiator grille, headlamps and rear light clusters with wide chrome surround, turn indicator element and peripheral body surround in black reinterpreted and given additional emphasis due to the surface design in each specific area; high - end details underscore the sophisticated nature of the new model; five exterior paint finishes, roof in contrasting colour available as an option at no extra charge.

A two - colour paint finish with a sporty stripe hints at the CUB's high - performance potential, while the car's broad track gives it an imposing stance.

Other changes include a revised Servotronic power steering for improved feel and feedback, optional fade - resistant carbon ceramic brakes provide improved brake feel (only available on 20 - inch wheels), new, more upright front grille and larger lower air intakes give improved airflow to aid engine cooling; chromed headlamp bezels, two new exterior paint colours (Cumbrian Green and Granite), two new leather hide colours (Newmarket Tan and Cumbrian Green), new low - friction dampers, new «Sport Traction» mode for the Bosch 8.1 ESP system and a Bentley «B» brake pedal.

The wheels are given a gunmetal colour and the front brake callipers are painted in red.

There's also twin black stripes along the roof and bonnet - giving the special its name - and a «white liquid» paint finish is the only colour option on offer.

The dark colour of the CFRP roof (with its contoured roofline) gives both models a lower - slung and more compact appearance, as the eye perceives the roof pillars — painted in body colour — to be the uppermost point of the car.

The Salève Vert paint finish, whose colour appears to change from green to greyish blue in different lights, creates a hugely effective surface composition and teams up with the gold - coloured window graphic, hallmark M gills, gold - coloured brakes, wheel rims and M twin exhaust tailpipes to give the car a head - turning, all - new look.

As soon as you turn the tablet on for the first time and are met with Samsung's oil painting style wallpaper you'll notice the fantastic depth of colour that the tablet gives off.

King or Queen size bedrooms are typically painted in Florentine colours with purple, light blue and bright yellow which give the apartments their precious names.

This includes: texture and vertex shading, which by using what was jokingly referred to as «lasers» or «sabers», users can add textures in a simple and accessible way; a foliage painting tool, which «if you're using a Vive or Oculus Touch dev kit, there's a button you can hold to erase or paint»; a colour picker, which is familiar already and has been used in various titles; a transform gizmo, and it was commented that «the rotation was a little bit of a disaster before but it's better now»; there is now a flashlight in VR as well as the ability to make screenshots; and a widget interaction component that gives developers full control over how things get touched.

Once built, those with a creative touch can customise their Toy - Con creations with their own colouring pens, stickers and paint to give them a personal feel - the only limit is their imagination.

After beating them, the gang go back to the fountain to which Huey reveals that there used to paint stars that gave life and colour to Prisma Island and they seem to have disappeared.

What begins as a picture - postcard beach splashed in vivid primary colours gives way to a desert painted in shades of baked ochre, then a bedraggled and overgrown castle whose gleaming white has been reclaimed by verdant green.

You'll learn how to mix a variety of lively colours suitable for florals and how to get bold with your paint to give your images real punch and that wow factor.

Here I have given the purple Freesia a white ground because both their colour and delicate tone lend themselves to being painted with transparent paint.

You could go off and splash paint to create a wonderful portrait, and start thinking half way through what sort of background you should give it - or what what colour (s) / texture (s) should be included.

Blocks of pale colour take over from the tight grids; these in turn give way to a series of grey paintings, then the white islands, and a last, more exuberant phase.

There are two more colour samples with their names painted on opposite walls: pantonecoolgrey 10 (2016) and tuttifrutti (2016), a sample given by the American paint company Behr.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

His dynamic brushwork, nervous line and extraordinarily rich colours give his paintings a great lyricism; what ultimately interests the artist is the melancholy and desperation in the human condition.

The paintings» focus on colour alone imbues the series with a conceptual ambivalence: as Benjamin Buchloh has pointed out, colour «acts simultaneously as a substance and a sign, a paradoxical condition that no other element can claim... it can and will function at the same time as a referential [grounded in a universal given] and as a differential [perceivable only through variation] sign.»

The rawness of the resulting colour fields, along with the large areas of unpainted canvas, gives many of his paintings a provisional feeling, emphasising his convictions about the independent life of the materials.

Making it was a simple strategy of separating out facts from feelings, choosing «givens»: the canvas for the outer world of facts, and poured paint (added to it in a mixed complex of colour) for the inner emotional world of feelings.

Terry Greene study of colour planes - some vigorously bright paired with outlines and geometric constructions - gives his paintings solidity and determination.

Luke learned from Hofmann the technique of employing explosive colour and thick impasto bursts to give her paintings more power and authority than they had previously exhibited.

A drawing such as Study for Black Curvesmay, indeed, have given rise to the painting Black Curves, but in other instances a curve, a panel, a colour palette or a relief will have gone through intense rethinking and reshaping before emerging on a canvas or in a shape of steel.

Unlike other colorists, however, Bush tended never to repeat colours in a picture, and their proliferation gave his paintings an exuberant sense of optical dazzle.

But though straight lines quickly gave away to rather slack rhythms and large, free forms, it was not till about August 1963 that he fully recovered his balance and felt able to achieve a «simple» painting again in which the colour was properly dictating the form, and the forms were not ranging themselves in depth because the colour was acting like tone (that is, as contrasts of dark and light).

In his painting, freely combined techniques from calligraphy and impressionism gave primary consideration to colour, light and rhythmic motion.