Sentences with phrase «layer on a work surface»

Arrange the toast slices in a single layer on a work surface.

Remove the dough circles from the refrigerator and place in an even layer on your work surface.

Place cake layer on work surface; spread with 1/2 cup marmalade, then remaining mascarpone cream.

Not exact matches

Don't let the egg wash puddle or pool on the surface — a light layer works best.

The research builds on the team's previous work with a technique called three - dimensional culture, which involves incubating stem cells in a floating ball - shaped aggregate, unlike traditional cell culture in which cells grow in a flat layer on the surface of a culture dish.

Linear trends (1955 — 2003) of change in ocean heat content per unit surface area (W m — 2) for the 0 to 700 m layer, based on the work of Levitus et al. (2005a).

Cleansing and moisturizing your skin is a fantastic foundation for skin care but we recommend also exfoliating so that you can remove the dead skill cells that can accumulate on the surface layer and allow your products to work more effectively.

It works on the uppermost layers of skin's surface, loosening the bonds between dead surface layers and the radiant skin beneath them.

If you have seen Mr. Leigh's work in Happy - Go - Lucky or Vera Drake, you understand that his films can be simplistic on the surface, while carrying multiple layers of commentary and observations.

Recently CEO of Notion Ink, Rohan Shravan commented on the way the anti-glare and anti-fingerprint technology works talking with Slashgear «The Adam comes with 2 layers of Matte Surfaces, one on the Pixel QI LCD screen, other through the Matte Screen protector on the outside Glass.

Linnenbrink often uses a photographic base to his works and then imposes color on top or creates a flawless surface, which he then drills into to reveal layers of contrasting color poured beneath.

But whereas the work of those artists achieves a meaningful dissonance through a sundry aggregation of disjunctive motifs, Picabia's layered images serve to reinforce one another within each painting, coalescing in their signification into a unified expression or theme: in one case it is the seductive menace of his Portrait of Kiki (ca. 1938 - 40), a demimonde figure painted in lurid yellows and greens with a spider form imposed over her face; in another it is the cheesy eroticism of Reve (ca. 1935), an image of a sleeping woman about to be kissed imposed over a nude standing (like Botticelli's Venus, but with arms upraised) on the surface of the waves.

On one level Cronin's work is about painting as a disintegrating, scarred thing, whose surface consists of layers of history that have been covered and effaced.

Often working on a large scale, Phillips has co-opted entire rooms as surfaces on which to apply her prints, bringing together multiple layers of individual images and repeated pattern in a single installation.

Of central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movements.

The resultant works rely heavily on the use of whimsy while the multiple layers allow the dress images to dance on the surface.

For this new show, Santín energizes visceral surfaces with a personal approach to layering paint, resulting in new work such as Sisyphus Circus, monumental 13 - foot, 10 - panel painting with a surface of Cinnabar red carvings typically found on antique Chinese Coromandel lacquer screens.

Only on closer inspection do the underlying layers peek through the surface here and there, revealing faint patterns and isolated lines, and casting Abts» work as a reflection on the painting process itself.

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.

Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors — at times monochromatic, at times colorful — resulting in a densely stratified surface.

Seeing what the paint can do on its given surface, retraction of paint, over layering, scratching in, working wet, into wet.

In her artist statement, Kamiya explains the following: «My process requires me to work intimately on the surface, and yet I also move away from the surface in order to see how the layers of mark - making negate earlier marks and reveal a new form.

For Zurier, getting the paint on the surface economically seems a paramount concern, but his process does result in a fortuitous, non-hard-edged striation and an excavation of deeper layers of pigment that is central to the success of his work.

«You must spend time with Wightman's paintings; on the surface they are beautiful and intricate, but like the layers they are made from, there is so much depth to these works — they contemplate not only artifice, but also the natural versus the man - made.

Eriksson has worked on these paintings, like a meander cutting through surfaces and layers of pigment.

The works of Carol Heft juxtapose 2D and 3D space on flat surfaces and combine physical and illusionary layers of space.

In 2012, Moses began working on what he terms «Crackle Paintings,» consisting of canvases layered in color which are then punched on the surface with Moses» elbow or fist to create fissures and cracks.

Rafferty has created a theatrical event in the upstairs and downstairs of the still - new Uffner galleries with floor - to - ceiling curtains dotted with pink - and - purple flies; blob - like paintings (of people, a wall, a noose) and inkjet prints layered on top of each other, flattened behind plexi to give the appearance of multi-dimensional depth; all adorned with the tiniest of hardware, like screws, that have been attached to the surface of her works.

His canvas works are primed with five layers of acrylic mat gel, which prevents the ink from invading the canvas and, instead, allows the ink to pool into a smooth wash on the surface, gradually obliterating some of the pen strokes.

Silke Otto - Knapp works with watercolours on canvas in an almost monochromatic spectrum: a choice of materials that allows the building up of the complex, semi-transparent, layered surfaces that characterise her landscapes.

Much like putting together the pieces of a puzzle, the works of art on view are visually coded with layers of meaning beneath the surface, enabling people to imagine and challenge their expectations.

With this work, therefore, Long engages with the site's physical and historical «layers», remarking that his work is «just another layer on the surface of the world that has been shared by all these different generations» (cited in Tufnell 2007, p. 102).

«What makes my work popular is the fact that I make paintings on a plexiglass surface and use oil paints to create layers,» he explains.

In these works, Whitten poured and pooled different layers of acrylic paint onto a canvas lying on a flat surface.

Linear trends (1955 — 2003) of change in ocean heat content per unit surface area (W m — 2) for the 0 to 700 m layer, based on the work of Levitus et al. (2005a).

If you want to imagine that there is an ever - replenished layer of oil coating the surface of the ocean and that it is affecting global climate, work it out and publish a paper on it.

I will be interested in high resolution, only surface / high layer with particular focus on how the current works around the points of the continents.

If the warm water heated by the sun is driven by the wind into the deeper layers, and also bringing colder deep waters to the surface, the surface stays cool, the heat is transferred down, and La Nina works its cooling magic on the globe.