Sentences with phrase «inch piece they're working on»

Not exact matches

Working with one piece of dough at a time (and leaving the others in the refrigerator) roll it into a thin circle 8 1/2 to 9 inches in diameter on a lightly floured work surface.

on a lightly floured surface, working with one piece at a time, smash dough with hands into a rough circle, about 5 inches diameter.

Take one of the pieces of dough from the fridge and roll out on a lightly floured work surface to form a 9 1/2 - inch / 24 - cm circle, about 1/8 inch / 3 mm thick.

Roll each piece out on a lightly floured work surface to just under a 1/4 - inch thick and use a 4 1/2 inch round cookie cutter to cut each into a circle.

On a lightly floured work surface, divide the pizza dough into 4 pieces and roll each into an 8 - inch diameter circle about an 1 / 8 - inch thick.

Shape plantain mixture into 24 (3 - x 2 - inch) rectangles on a large piece of wax paper on a work surface.

Lay some plastic wrap on a work surface so that it measures at least 20 × 20 inches; overlap a couple of pieces of plastic wrap as needed.

Working with one piece at a time, stretch dough until 1 / 4 - inch thick on a lightly floured work surface.

Toss 3/4 cup Silver Swan soy sauce (or any kind, but this was what my family uses — it's made in the Philippines — and it adds a slightly sweeter flavor), 1 cup rice vinegar, 15 garlic cloves, 2 tablespoons black peppercorns, 3 bay leaves, 3 Thai chiles (more or less depending on your heat sensitivity), 2 tablespoons palm sugar (if you can't find it at the store, sugar in the raw will work), and a 2 - inch piece of ginger with 8 chicken drumsticks in a plastic bag and marinate — no bowl or pan washing required.

On lightly floured surface use a rolling pin and work from the center to the edges to roll each piece into a ten - inch circle.

Working with 1 dough piece at a time, roll dough out on floured surface to about 1 / 2 - inch - thick rope.

Working on a smooth surface, form each piece of dough into a log that is about 1 to 1 1/4 inches (2.5 to 3.2 cm) thick.

Cups 2 teaspoons vegetable oil 3 garlic cloves, crushed to a paste with a little sea salt 1 (1 - inch) piece fresh ginger, peeled and finely grated, reserving any juice 1 teaspoon finely grated lemon zest (optional) 2 red chiles, seeded and finely sliced (optional) 10 ounces ground turkey or chicken (any ground meat should work actually) 1/2 cucumber, seeded and cut into 1/2 - inch dice 3/4 cup (2 ounces) snow peas, trimmed and cut into very thin strips 4 scallions, thinly sliced on the diagonal 8 basil leaves Handful of fresh cilantro leaves 4 crisp iceberg or Boston lettuce leaves 1/4 cup (2 ounces) bean sprouts, soaked in ice water and drained just before use

While the cabbage is working, cut your celery on the bias into 1/4 to 1/2 inch wide pieces.

Start with a large flat surface area to work on with all your supplies handy and pre-cut your floral wire in pieces about 6 inches long.

Using your palms, roll each piece on a lightly floured work surface into a rope 1/4 to 1/2 inch in diameter.

The Spring 2018 Graduate Theses Exhibition at the Fine Arts Gallery highlights the works of seven graduate students: Alexandra Cao Ying, MFA, Studio Arts, Let One Hundred Flowers Blossom, # 087, oil on panel, 6x6 inches; Bianka Miranda, MFA, Studio Arts, Aa, acrylic on panel, 18x24 inches; Gabriela Melendez, MA, Studio Arts, Beneath the Skin, wood, plaster, silicone, 34x16x72 inches; Raquel Rojas, MFA, Studio Arts, Aborto, acrylic on canvas, 9x12 inches; Saul Aguilera, MFA, Studio Arts, En Los Tiempos de Las Golondrinas: Sun Frida, mixed media; Sean Kelly, MFA, Studio Arts, Mythic Landscape, (detail pieces of two - part installations) ceramic, wood, 78x99x51 inches and 78x39x39 inches; Teresa Carrasco, MFA, Studio Arts, Shoot Em Up Bang Bang!

The Number of Inches Between Them, the project on view at the List Center, continues a body of work in which Hall creates replicas of found, one - of - a-kind pieces of furniture.

At Whitechapel Gallery a five - decades survey that focuses on his use of textile, ranging from the «Rope Piece» (the three inch piece of rope that shocked New York's critics in the 1970s) and the above - mentioned «Wire Pieces», to new work, runs until December 14, Piece» (the three inch piece of rope that shocked New York's critics in the 1970s) and the above - mentioned «Wire Pieces», to new work, runs until December 14, piece of rope that shocked New York's critics in the 1970s) and the above - mentioned «Wire Pieces», to new work, runs until December 14, 2014.

«5 This distinction is probably most clearly articulated in a work Heinecken made on January 20th, 1981, when he pressed an 11 x 14 — inch piece of Cibachrome paper to a small color television set as Ronald Reagan gave his first inaugural address.6 The resulting image, a blurry «videogram,» in Heinecken's idiosyncratic terminology, embodies this tension.

«Up close, despite the work's authenticating mat and frame, I was surprised to find the volumetric, somewhat figurative contour line drawn on a tiny piece of seemingly inexpensive paper, 3.5 by 2.75 inches, that whispered sacrilegiously of Staples.

Along with 13 new pieces on paper and board, Campuzano will debut «Note On Door», a work on nine 82 x 38 inch wood panels and the artist's first proper paintings in almost a decade, a work about ghosts, threats, landlordism and street - woron paper and board, Campuzano will debut «Note On Door», a work on nine 82 x 38 inch wood panels and the artist's first proper paintings in almost a decade, a work about ghosts, threats, landlordism and street - worOn Door», a work on nine 82 x 38 inch wood panels and the artist's first proper paintings in almost a decade, a work about ghosts, threats, landlordism and street - woron nine 82 x 38 inch wood panels and the artist's first proper paintings in almost a decade, a work about ghosts, threats, landlordism and street - work.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

The central piece of the exhibition, for me, was the work THE FRAGILE, 2007, a large piece of 36, 10 x 8 inches, archival dyes on fabric.