Sentences with phrase «graphic print against»

I'm digging the cool graphic print against the white leather, which is actually the brand's logo with the two L's.

Not exact matches

Now, for the past six years, I have had seven dresses that I always wear for formal events (black - tie, weddings): (1) a long sleeved, high - necked, knee length black lace dress by Lover, whose darts I removed entirely so that it falls straight from my shoulders to hips to knees in a very loose, comfortable cut (no need to pull any waists in, and I can eat as much as I like) that I made an underskirt for, so it can also be calf length (2) an ivory version of the same above, with the optional lace underskirt (3) an amazingly intricate ivory leather macrame flapper dress uner which I wear a dark brown long, stretch singlet dress (so comfortable again)(4) a vermillion small V - neck, long bell sleeved, straight cut, long, widens - at - the -(just above ankle) hemline dress I sewed in the most gorgeous lace for twenty dollars (5) a burgundy lace version of the vermillion lace dress in (4)-- for the same price (6) a knee length, Romance Was Born silk shift three sizes up so it sits away from the waist — again — its all about «a'll the better to eat dinner with, my dear», in a huge, wild sunflower graphic print before graphic prints were trendy: it's giant sunflowers against an intense turquoise background (7) a calf length caftan cut dress that I made from Japanese printed silk my mother had bought and kept for sixty years (it's just a giant square with a hole fro my neck and two for my arms, and has the best drape EVER owing to its being silk)

So I chose a mustard colored turtleneck top with a graphic print to create a sharp contrast against the sheer lace.

The glossy outer shell is printed with rich, vibrant, high - gloss graphics from edge - to - edge that will safeguard your phone against scratches and also makes it easy to slide in and out of your pocket.

Enveloped in a soothing coastal palette of linen and white accented with graphic Ikat prints and bright splashes of blue and turquoise, interiors blend modern conveniences with a fresh, contemporary take on classic West Indies charm that balances elegant designer fabrics and furnishings against global accents sourced from Bali and India.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kenprints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, KenPrints, University of Lexington, Kentucky.

The artist sets her hand - painted, hand - woven textiles against the backdrop of digitally printed wallpaper, for which she creates graphics using Photoshop.