Sentences with phrase «layer of paint onto»

Using a restricted palette of ultramarine and umber, Yun created his distinctive compositions by adding layer upon layer of paint onto raw canvas or linen, often applying the next coat before the last one had dried.

Apply the first layer of paint onto the surface.

paint on a layer of the paint onto your letters, and while they're still wet, sprinkle on the cinnamon!

Geri loves mixing colors and applying layers of paint onto a blank canvas.

Geri Eubanks loves mixing colors and applying layers of paint onto a blank canvas.

Created by infrequently pouring extremely thin layers of paint onto a prepared surface over long periods of time, the small - scale gesso boards reveal radiant compositions that develop and deepen before the viewer's gaze.

From the outset of her career, Mason understood the advantages of her interstitial space: she could take refuge from Abstract Expressionism's subjectivity as well as take advantage of the transcendent possibilities of color offered by Color Field (achieved by pouring thin layers of paint onto canvas).

Not exact matches

Use a pastry brush to paint a thin layer of melted butter or oil onto the surface of the double layer filo rectangle.

We started by painting a layer of glue onto the outside of the snack cup, then put on a layer of tissue paper, followed by another layer of glue.

In solution form, their solar absorber layer — the part made from the copper indium diselenide or CIGS materials and critical to the performance of the cell — can be easily painted or coated onto a surface.

The bimorph is built using atomic layer deposition — chemically «painting» atomically thin layers of silicon dioxide onto aluminum over a cover slip — then wet - transferring a single atomic layer of graphene on top of the stack.

Second, a thin layer of clear water - proof silicone adhesive is painted onto the fur and allowed to dry for several hours or overnight.

He would apply layers of thinned paint onto the canvas to create two or three luminous abstract soft - edged rectangles.

In his darker Round monotypes, he painstakingly transfers many layers of oil paint onto paper to create infinite space similar to Tang Dynasty bronze mirrors.

Through a process of applying many translucent layers of oil paint onto canvases lying on the floor random expressionistic color fields are created sometimes with broken geometric structures floating on the surface.

Eschewing tools, as if to reject any reliance on the flightiness of brushwork, he applies layer upon layer of somber - hued pigment directly with his hands, not so much to paint as to rub the color onto the canvas.

He then paints the image onto a polyester surface with the aid of a projector, and coats it in layers of resin.

There is also a performative quality in his works, which becomes clear not only when Linnenbrink pours the resin with its added pigments onto the image carrier, or drills holes in the hardened paint layers of some paintings.

The artist first applies thick layers of oil paint in various colors, including burnt sienna, green, blue, and yellow, onto a white painted background, then uses her body to vigorously mix and sculpt the material until the once - vibrant pigments meld into a rich gray tone.

Onto these structures Day - Glo paint and industrial enamels are applied as «material on material,» defining areas or zones on the raw plywood surfaces generating layers of information.

With a finely attuned parity of aesthetics and practicality: projectors are placed atop unfussy supports, conventional plastic storage containers, boxes, directly on the floor or other fundamental solutions, in order to angle the throw of light onto layers of objects or cardboard paintings.

This exhibition also draws attention to works in the Museum's collection such as Frank Stella's (b. 1936) Moby Dick prints, currently on view in the adjacent Connecting Chaos exhibition, in which he layers cut paper onto multiple print processes, and Keltie Ferris's (b. 1977) The Wrestler (2009) in the Museum's atrium, which incorporates oil, acrylic, and spray paint into an abstract layering of color and shapes.

The text background, DNA code, is collaged onto the panel and covered with many layers of transparent red encaustic paint.

The thin layer of removed white wall paint is then applied onto raw canvas and framed, so that this ordinary, typically valueless and disregarded «background» is transcended and becomes painting with a new worth and significance.

Built up from layer upon layer of biro and emulsion paint plastered onto canvas, the drawings contribute a setting of intimate vulnerability.

Initially putting a layer of gesso and paint onto her canvas that she stretched on a wooden frame, Brooklyn - based artist later removes the canvas from its support to re-stretch it back in an alternative position.

I chose them because they are, in many ways, the polar opposite of traditional mediums — a way to take very complex, age - old master's techniques like reverse painting and the glazing and layering of oil paints, exploding them onto modern mediums that speak more to current times.

Employing the old technique of «layer painting», Fomenko applies the practice in a modernized way and injects bright primary shades of acrylic paint onto the canvas, before awakening his subjects of surrealism with oils by using broad brushstrokes.

All of the paintings in the exhibition began as small collage studies, which were utilized as maquettes for much larger works that were transferred onto canvas as a blueprint of the original, and then heavily embellished with multiple layers of paint.

Gilad Efrat, who lays layers of thick oil paint only to engrave within it or the subtract from it, functions much like that ancient writer, who imprints marks by stakes onto a soft mortar plaque, hurrying to affix meaning onto the surface of the material before it will harden.

Bickerton then works directly onto the photographic print using thick layers of oil and acrylic paint so that the components of photograph, painting, and sculpture become indistinguishable.

Art history imparts a heavy weight onto mediums like oil paint, but, like any other material, Hundley then capitalizes on these histories by embracing them and unleashing their potential - by titling some of the paintings Still Life or Composition he embeds yet another layer of historical reference.

Her paintings consist of psychedelic optical patterns of layered medical data, silkscreened in bright phosphorescent - colored acrylic paint onto polished stainless steel.

In Slow Storm (2017), grey circular strokes spiral, tornado - like, in the canvas's upper right corner, grabbing paint from earlier layers while dripping onto patches of raw canvas.

The layers, the blurs of paint reminded me of a time as a child when you would throw a bunch of colors onto a piece of paper and fold the sheet to create a beautiful Rorschach.

High contrast renders are achieved through a process of heating dyes onto the textured surface of suede, adding a layer of spray paint cast over the digital source.

«Even though her entire oeuvre can be seen as an extended exploration of the formal principles of art, in her work — and its presentation — she takes very seriously the affective possibilities of painting, cuing color to emotion and layering onto the nonverbal realm the visual jokes and humor inherent to cartoons and comics,» writes Molesworth.

Her process involves the use of large quantities of acrylic paint poured onto her studio floor; the paint eventually becomes building blocks to construct layered abstract sculptures called paint - objects.

Working between his New York and London studios, Bowling developed a special mechanical apparatus which tilted the canvas so that he could pour paint onto it, creating spontaneous fusions and layers of colour now known as the Poured Paintings.

Well known for her approach situated in Color Field painting, Gualdoni begins her paintings by pouring acrylic paint directly onto the canvas, creating overlapping layers of capricious and unpredictable ground.

Pérez works using a unique method in which he transfers paint onto canvas via an intermediary layer of paper.

Larsen's process involves loading the paint into piping bags and squeezing it onto the canvas to create delicately layered and brilliantly hued coats of paint.

Instead of using canvas — as he had done previously — Richter experimented with Alucobond, a composite of aluminium and plastic, because of the unexpected effects that result when coloured oil paint is layered onto the very smooth surface of this material.

After coating them with as many as eight layers of translucent or opaque paints, he binds the initial blobs onto the surface, producing gorgeous, intriguing, collagelike works that gleam with luscious hues and palpable paint.

Benning applies layers of aqua - resin onto each piece and sands them until smooth before painting and then reassembling the components.

An admirer of Venetian painting, of Matisse and Pollock, he started layering paint thickly onto banners, curtains, fragments of tents and parasols.

He began by pouring bold, sometimes even fluorescent colors of paint directly onto unprimed, unstretched canvases, which he would then fold and crumple while still wet to create luminous washes of color layered with glowing striations, drips, and pools of pigment.

In PNG, he layered an image transformed into binary code or ASCII onto undulating surfaces of painted casting compound.

Unlike the surfaces of earlier paintings, in which thin layers of rolled acrylic paint constituted the backgrounds onto which black pixelated images were silkscreened, the backgrounds of the Shadows canvases were painted with a sponge mop, whose streaks and trails add «gesture» to the picture plane.

To produce the stratified surface of these paintings, Johnson drips layers of acrylic paint onto freezer paper and allows them to dry and form a skin — a flexible, plastic - like puck of pigments that she attaches to the paintings with glazing medium for added texture and embellishment.