Sentences with phrase «into paint skins»

Not exact matches

More granite and custom paint colors follow you into the spa like bathrooms; sink deep into a bubble bath and soak away the aches of your full days spent sightseeing in our beautiful city and then wrap yourself in the fluffy white beach towels that feel soft and gentle against your skin.

Be sure to use non-toxic paint so no unsafe chemicals are absorbed into your skin and you do not inhale any harmful fumes.

Dip baby's hands or feet into the paint and use a paint brush to spread the paint evenly across her skin.

Let the dust settle on your skin and embark on a journey to where the open road spills into a painted sky.

- character creation lets you choose skin color, face, eye color and haircut - later in the game you can get glasses, pants, shoes and other stuff - start off by meeting Tom Nook and his posse of Happy Home employees - this includes Lyle the Otter and Digby the Dog, who give advice and help to keep the game moving forward - Lottie the Otter is Lyle's niece and handles the front desk in the game - she welcomes you every time you boot up the game and tells you what to do next - gameplay starts off with placing furniture, but quickly evolves into something more - place a house on the world map and cycle through seasons to see what you like - house can modified with different roofs, doors, colors and more - every animal unlocks new furniture for you to use - completing a lot of requests is vital to getting a lot of content - characters will react to everything that you place and remove in the house - three pieces of furniture must be in or outside of the house and these need to implemented into the final design - if you don't follow this rule, your animal customer will not approve - add wallpaper, carpets, lamps, signs, music covers, paintings and much more - by completing special objectives in the office, which you pay for with Play Coins, you can even expand the feature set - set background sounds, choose curtains, change up furniture, display fossils and get a bigger variety of fish and paintings.

Included in the bundle is a new skin for Sylvanus that transforms the character into the host of «The Joy of Painting.»

In a video the artist shows the behind - the - scenes process that went into making Inhabited Painting — casting the floor, pouring the wet polymer, peeling back the skin - like sheets, cutting and folding this firm yet malleable material, and cleaning the surface (which he does with soapy water and a dust broom).

«I've always liked the physicality of paint,» says the artist Angel Otero, who transforms liquid material into thick - yet - elegant layers, or «oil skins,» as he calls them.

Where Pollock had used enamel that rested on raw canvas like skin, Ms. Frankenthaler poured turpentine - thinned paint in watery washes onto the raw canvas so that it soaked into the fabric weave, becoming one with it.

Gillespie builds up the paint, giving himself meaty red skin and etching a radiating sun into his forehead in his 1998 to ’99 «Self - Portrait with Yellow Background.»

He often paints one pattern over another, turning the surface into a textured skin, like a wall that has been hurriedly covered over many times.

Thr Brooklyn - based artist, 29, who joined Lehmann Maupin last May, fashions the surfaces of his large expressionistic pictures and assemblages from «oil skins,» created by pouring oil paint into glass, allowing it to dry, then peeling away the resulting sheets of color.

The crude texture of her characters» skin, the brash and deliberate outlines that define the exaggerated figures within tableaux, the patches of thinly applicated paint that barely cover the ground, or the dug - out passages of drawing that carve into the surface, are all archeological — as if she was unearthing some hidden pattern that was embedded into the canvas all along.

The whole gallery will be turned into a unified space through the application of an internal skin of paint and carpet.

In both cases, the skin colors have been scraped down to something not unlike skin, and they contrast wonderfully with fabric covering the large chaise: a series of tiny grids scratched into wet green paint.

The show is titled after a Benny Andrews painting (Witness, 1968) of a brown - skinned woman staring into the distance with a knowing gaze.

Yes, it's always interesting to push a medium into new places, but scraping a semi-polymerized surface is literally ripping the skin off the painting.

The words «goddamn dyke» incised into the skin - like latex of the triptych interject a violated bodily presence into the work that challenges both the heteronormativity of rural America and abstract painting.

His signature technique, used in both paintings and sculptures, is to incorporate traditional brocade fabrics into their surfaces, often becoming the skins of beasts, the bark of trees, or the garments of mythological figures.

For the rope paintings, she uses the same skin - mimicking textiles as her paintings» ground, and then tightly spins the finished paintings into ropes held together only by a cast bronze knot and a bronze tack where they meet the wall or the ceiling.

Often integrating mixed media materials into her large - scale acrylic - on - canvas paintings, Parsons pushes the formal aspects of her practice just enough to let the luxuriant palette and seemingly, but not simply, whimsical content hold center stage, while proving that she has true skin in the game.

His exquisitely rendered drawings and paintings draw on dream imagery, where the surface of his work relates to both the mind and the body, and becomes a skin on which to create layers of marks, volumes of text, leading the viewer into another world.

His work has involved the act of physically entwining his face and chest with fishing gut (in Bind / Ontbind2, Venice, 2003), licking sand off anthills (in Licked Colony, SA, 2011), painting his face with gold leaf, honey, flour and oil while defacing a gallery wall (in Figurehead, Rotterdam, 2010), and having sump oil and milk poured into his outstretched hands containing Buddha statuettes sewn into his skin (in Thank You, Bodh Gaya in India, 2011).

In other pieces — collected under the title «Pixelator» — the surfaces are instead saturated by a close - knit checkerboard pattern of black and white, always created with spray paint, as if the digital skin of the images had been examined with a microscope and expanded into an optical rendering of its makeup.

At first glance, the painting clumps into abstract patterns so beautifully that it's easy to mistake it for fabric — what the viewer sees is in fact a full sheet of oil paint, what Otero calls an «oil skin.»

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

In the same vein, Varejão turned the 1976 Brazilian census, which allowed citizens to describe their skin tone in their own words, into 33 colors of oil paint, packaged in tubes labeled with names like «Coffee with Milk» and «Sun Kissed.»

His signature technique, used in both paintings and sculptures, is to incorporate into their surfaces traditional brocade fabrics, which often become the skins of beasts, the bark of trees or the garments of mythological figures.

Many of the figures she paints here come across as striking, particular where their skin tones blend into the rich colours of the backgrounds — there's something enveloping about them.

At a time when the so - called New Image Painters — Baselitz, Schnabel and co — were reviving interest in neo-expressionist painting, the existential cruelty of Titian's painting, in which a satyr is skinned alive, seemed like a message from the past, telling us that the truly great artist can not so much transcend the infirmities of old age — failing eyesight and diminished muscular control — as turn them into an aspect of genius, in works that strip back to the essence of things, and which can communicate to any age.

Through a controlled painting process, she turns portraits or still lifes into graphic schemes, applying a «skin» of irregular pattern — herringbone, fluid grids, or polka dots — in contrasting or complementary colors.

One of the most prolific and dedicated - to - painting artists of recent memory (Mr. Poons has made no diversions into sculpture, video or anything else), he has soldiered on: His «dots» grew into large lozenges (which were often painted on another surface before being transferred, with a rougher texture, onto the main canvas), and the lozenges in turn matured into overall cascades of murkily pastel paint (pictures often referred to as the «elephant skin» paintings).

The centerpiece of the show is the monumental nine - foot - high canvas, «Self - Portrait as Vincent van Gogh,» rendered in violent swathes of pigment that decompose the depiction of skin and hair into a painting about painting.

Over the years, Ms. Sherald's figurative painting has evolved into a stylized realism — a gray skin palette punctuated by colorful pieces of clothing on a flat plane.

Over the years, Ms. Sherald's figurative painting has evolved into a stylized realism — a gray skin palette punctuated by colorful items of clothing; a flat plane.

Ana Mendieta's gently insidious Siluetas, showing of the outline of the artist's petite body in blood, sand, dirt and greenery; pages of handwriting by Adrian Piper, chronicling the artist - philosopher's youthful, overtly optimistic dive into Kantian metaphysics; Alice Neel's figure painting, defiant yet wholly comfortable in its own skin.

A striking aspect of Marshall's paintings is the emphatically black skin tone of his figures — a development the artist says emerged from an investigation into the invisibility of blacks in America and the unnecessarily negative connotations associated with darkness.

Minter has long had her finger on the pulse of human appetites, particularly when it comes to beauty and sex, which she taps into in luscious, inescapably close - up paintings, photographs, and slow - motion videos of bare - skinned women and their body parts — often dripping with paint and smeared with mud, gobs of glittering makeup, or sparkling candy.

Whatever it is, if drawing presents a certain window into the artist's brain, then the exhibition «Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing,» which opens at the Studio Museum in Harlem on Thursday, will serve as a trip inside the mind's eye of an artist whose practice has included everything from multimedia paintings comprised of acrylic and collaged felt to site - specific installations and even a ballet — one that explodes off the page and directly onto the gallery walls.

So, I might imagine that the figure is being poured into her container, that the ground surrounding her is some denser stuff, holding her in place (like a mold), or that the painting itself is a slice of air and everything in it is just slightly shifting, like condensation, or everything is skin, pushing against the membrane of the picture plane.

In «Polvo,» a series from 2013, the artist bottled shades of flesh - colored paint into tubes to match the imaginative ways Brazilian citizens described their skin color in a 1976 census.

Art in America described Mossé's layered surfaces as «seductive skin that shifts from the opaque to the lustrous and delicately transparent... As paint transubstantiates into light, it parallels the mystery that exists at the heart of matter, that is the heart of the matter.»

The canvas was primed with a base coat of maroon paint made from powder pigments mixed into rabbit skin glue.

However, [the tattoo artist's] work is permanently inked into the skin of Tyson, so unlike face paint, there is no danger of being easily erased, unless Tyson undergoes laser removal.