Sentences with phrase «great flattering colour»

Not exact matches

The colour, warm tone, and ruffles are so flattering, I knew it'd be great for the transitional weather with a leather jacket and boots or without.

It's a great makeup colour too, and so flattering.

Red is a great colour on you, and I think it's a colour that flatters everyone if you find the right shade of red.

«And the reason is that they are so damn flattering — those great splashes of block colour, the elegant proportion.

That cardigan looks great on you — definitely doesn't make you looks shorter and the colour is really flattering.

Natural looking, tousled curls are a great way to create loads of shape and style, and here, Emmy Rossum pairs great curls with a flattering side parting and a gorgeous range of colours that really tone perfectly with her fair skin and warm brown eyes.

This RS3 has a great specification including, Full Colour Satellite Navigation, Reverse Parking Sensors, Diamond Cut 5 Spoke RS Alloy Wheels, Rear Privacy Blinds, Automatic Xenon Projector Headlights, LED Daytime Running Lights, Headlight Washers, Multi Functional Flat Bottom Steering Wheel in Perforated Leather, Heated Seats, Fully Electric Adjusting Seats with Lumbar Support, Paddleshift, Trip Computer, RS3 Logo Embossed on Seats, Electronic Heated Adjusting and Folding Mirrors, Electric Windows, Dual Climate Control, Air Conditioning, Heated Rear Screen, Sport Mode, FM Radio, Gloss Black RS Brake Calipers.

«The addition of anti-lock brakes is confidence - inspiring for new and experienced riders alike, and the new colours are a great addition to the Classic line - up - including the new flat - black Stealth with a blacked - out engine and exhaust.»

Speaking of the local buildings, he said: «Here, typically Spanish living styles, with flat - roofed houses white or brightly coloured, blend with the need to want to represent, at least hypothetically, the urban sprawl of the great European capital, with modern tourist residences, impersonal and very similar to each other built in the middle of unspoiled places or at the very tourist beach resorts.

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

Back in the United States during the Great Depression of the 1930s, he developed a new style based on the rhythmic contrast between geometric areas of flat colour and objects clearly defined in linear perspective.