Sentences with phrase «give your painted surfaces»

Just because you're painting outside doesn't mean that you won't occasionally need to give your painted surfaces a wipe down to get rid of marks or mess.

Not exact matches

His life was anathema to the pharisees... laying down absolute law is like trying to paint the surface of the sea... MacArthur is under grace though... let's hope he gives away the grace and mercy he's received.

The study, involving researchers from UCL, Imperial College London and Dalian University of Technology (China) and published today in Science, shows how the new paint made from coated titanium dioxide nanoparticles can give a wide - range of materials self - cleaning properties, even during and after immersion in oil and following damage to the surface.

This seals the paint and gives a nice smooth surface.

The coat of gesso is not absolutely necessary, but it gives a nice smooth surface to the paper mache and you have to use less white paint.

Since these are so easy to paint, with a large surface, even the kids could paint these (and give them to you!)

While paints would be an acceptable medium for this project, chalk was perfect, easy to apply, and really gave my 3 - year old a lesson in coloring on textured surfaces.

I love the way sealing with wax brings out other colors in the paint and gives it that soft look, however I agree I am always nervous about table tops or other high traffic surfaces.

First, I gave the entire surface of the pumpkins two coats of acrylic orange paint, and gave the base of the piece two coats of black paint and let it dry.

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.

As the viewer regards two separate paintings by 16th century Dutch painter Pieter Aertsen, titled The Vegetable Seller (1576) and A Meat Stall with the Holy Family Giving Alms (1551) respectively, each cut to a different fragment of the paintings» surfaces raises questions: what do the artworks depict; what is placed in their foregrounds; what is relegated to the background; and, ultimately, what meanings can be excavated from the artworks» layers and represented objects?

• 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.

At the Geneva Show, cee'd is finished in «English Pewter» bespoke exterior paint, blended to give the external surfaces a unique lustre that is echoed by the interior.

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.

It's then given several coats of primer (very often a white acrylic primer called gesso) to seal it and prevent the oil from the paints soaking through the surface.

In the thicket of his surfaces, we see the AbEx demand that we look at paint simply as paint, so that the surface is neither given to narration nor to intellectual content.

Hess writes: «The painting's energetic and lucid surfaces, its resoundingly affirmative presence, give little indication of a vacillating, Hamlet - like history.

In all of the works, the articulation of each form — whether a paint - streaked surface or carefully cut out paper — describes a particular phenomena of time and motion, while giving concreteness and permanence to fleeting traces of human action.

Given their airbrushed surfaces, describing the paintings as inert gives them too much oomph.

His experiments with machine - polishing the surfaces of his paintings give his work its trademark luminous quality.

The artist uses scumbling and glazing to achieve an active painting surface, giving the paintings depth and space.

The process of Wolniak's recent paintings is harder to trace by eye, given the visual complexity of their layered surfaces, but the evidence is there.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

Ha's densely textured surfaces of pulled paint reveal a stark, life - giving potential.

His Mural (1943), which combines bold paint application with a colossal size, gave Pollock the confidence to explore the painting process on the huge surfaces in Portrait of HM (1945) and Night Mist (1945), until he reached his characteristic style in 1947 — 1950.

By allowing the grids to show through the painted surface, Zhang constantly reminds us that his paintings are artistic constructs, not direct replicas of any given object.

Close to minimal art, his work may be distinguished from it by the importance he gives to the painted surface and to the painter's touch.

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.

«The heavy impasto and foamy bliss in his 70's paintings gave way to sanded and scraped surfaces, rainbows of color yielding to thin ribbons twisting on bare backgrounds,» the New York Times critic Michael Kimmelman has described.

It was a great studio visit, which gave me a lot of insight... most memorable was the altered bathtub that Cathy had up on cinderblocks that she uses to scrub the surfaces of her paintings... the paint and cleaning liquids empty through the drain into a bucket, full of dark and mysterious residue.

While thinned oil paint tends not to be as brilliant as stained acrylic, Bush's loose and casual application — usually with a brush — enlivened the surface, giving what became known as his «thrust» and «sash» paintings their characteristic warmth.

Fishman's work has its innovative place in the history of geometrical abstraction — her use of auto paint, making for a slick surface, and giving the painting a sort of dramatic, confrontational presence, all the more dramatic and confrontational because of the abrupt contrast (dare one say clash?)

enlivened the surface, giving what became known as his «thrust» and «sash» paintings their characteristic warmth.

In - Hyung Kim uses the textures of paint and graphite to give life to the texture of paper's surface.

As a result, the paint surface is built up in areas, giving the paintings a very subtle dimensionality that enhances the spatial dynamics of each composition.

In 1989, Milhazes developed a process for mixing collage and printing techniques with painting, giving her canvases an almost «distressed» surface.

If we divorce ourselves from our sense of sight as the sole mode for experiencing painting, these works give more by way of touch and surface recalling the meeting of skin on skin.

There are quasi-geometric areas, made perhaps by rubbing the canvas on corrugated cardboard, floorboards, or other patterned surfaces, that give the paintings structure and shifting internal scale.

Layered with various colors and medium, the painting surface was heavily worked and distressed, giving it a marvelous surface t...

The sculptures, handmade in the artist's studio in Finland, are made from combining stoneware, paint and green nylon fiber, to give them their smooth and mossy surface.

Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella's rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

Developing multifarious surfaces simultaneously, bold compositions and free touch of her paintings sometimes display the memories of a childhood sensitivity, giving viewers a fresh impression.

His minimalist painting is not without its references to sculptural depth, which he suggests by creasing or cutting into the surfaces of his canvases; often scored into grids, they are given a textural complexity that complicates their minimal bias.

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 pictorial representation is given by painted surfaces, almost monochrome, which in recent series have passed from a more minimalist effect to a more detailed portrayal.

The white in which they are roughly painted catches the light, bringing out subtle nuances in the surface and giving them a spectral appearance.

In this painting, the forms stay on the surface without giving way to any particular illusory effect, while holding their place in a bifurcated relationship to one another.

(One of the more nuanced aspects of hard - edge painting, achieved by Mosset, is the care and precision given to articulating surface space in a manner that is both contrary and equal to paintings that work exclusively with space created by the overt gesture.

With a keen attention to the tactility of the surface, he uses a combination of addition and removal of paint to give form to the image.

Running until 29 March, the collated writings and images of poets such as Katherine Mansfield and Iris Tree provide inspiration for the show, as the gallery explains: «The narratives within the paintings are given structure by an almost visceral sensation of light that outlines and gives intensity to their surfaces, evoking a poetic image.