Sentences with phrase «layer paint finish»

The GranTurismo MC Stradale Centennial Edition seen in the images features special three - layer paint finish of Rosso Magma colour.

Not exact matches

Once you have achieved a solid, finished look with the chalk paint, apply 1 to 2 layers of the Polycrylic.

Expressively carved legs are masterfully hand painted to capture the look of timeworn iron and copper - dipped feet.Melandri Stool features: * Finishes are hand applied in layers for...

I applied a few layers of watered down paint and I just love the finish of it!

I used a metal scraper to get some of the white paint off, then used custom mixes of MMSMP Shutter gray, ASCP Country Gray, French Linen and Old White, to get this layered, chippy finish.

Well, lately I have been seeing all kinds of beautiful, interesting painted furniture pieces with ombre finishes and multiple layers of color and all kinds of fun texture.

I wanted a smooth finish, so I started fresh by stripping all the old layers of paint using Citri - strip.

Once I was finished painting the design, I lightly sanded and applied a layer of high gloss poly.

Hi - just finished the layer of wax on my white painted mini pumpkins.

Finishing: I have a full tutorial to come separately on the very distressed finish I achieved which involved stain, layered milk paint, wax, and hemp oil.

The individual slides focus on building construction outlines, understanding tonal identifications plains, understanding ellipses, matching the feedback statements to student's drawing and painting, wet into wet blending, building painted layers and finishing touches.

The car wears a special three - layered matt white paint finish with a strategic sprinkling of conspicuous Abarth badges to channel those on the original 595.

The bespoke Lava Red paint finish on the Kia Proceed concept has been achieved with 90 layers of black, chrome silver, and red lacquer.

Preventing the weave protruding the paint finish, Aston Martin employs a patented «surface veil» technology applying a 200 micron thick layer of epoxy glue to the carbon fibre, before the application of seven layers of paint producing a class A level of finish.

Just like the lip, most of the apron is finished in gloss carbon - fiber, with only the center section painted in the three - layer metallic red that covers most of the body.

What Mazda calls the Takuminuri paint technique is a three - coat finish with a uniform pattern of aluminum flakes in the ultra-thin reflective layer.

With a layered effect for the paint finish, a glimpse of the body at different angles reveals a subtle but different hue.

The exquisite Maybach paint finishes, which are applied in several layers, count as part of this specification.

An optional liquid - effect finish employs a hand - polished 8 - stage process with product - specific Super Silver metallic paint and three layers of clearcoat.

The technical features are matched by a new, even more extensive choice of colours developed by the Ferrari Styling Centre, including two - tone finishes, three - layer paint technology and modern re-interpretations of classic colour schemes which increase the exclusive personalisation possibilities even further.

The unique solid black colour is a mix of aircraft grade aluminium thread woven with carbon - fibre, six coats of lacquer and multiple layers of paint, hand - polished to get the typical Rolls - Royce paint finish.

For his first ever public exhibition in NYC, Young will paint 288 panels of plywood in alternating colors of red, pink, orange and yellow fluorescent, finishing with an opaque coat of black paint to conceal the bright layers underneath.

[10] The artist sought to remove any trace of her brush, sanding down each layer of paint between applications and creating perfectly finished planes of colour.

Richter applies layer upon layer of paint to the canvas with «planned spontaneity,» using spatulas, brushes, and squeegees; he removes the paint, and reapplies it until he considers the picture finished..

Now 40, he takes sedulous care with his canvases, building up 10 to 15 layers of paint to achieve the complexity of his finished images.

She infused her art with these experiences through a labor intensive process — applying many layers of paint by hand to each piece and sanding the surfaces to a fine finish — and the bands of rich color that cover her sculptures, liberated from the traditional two - dimensional plane of painting, prompt viewers to make their own associations with her work.

Artists were influenced by industrial finishes and spray painting with over - and under - layers of metal flake and pearl developed by custom car builders.

For her, the white wax is only the last layer, over more intricate drawing and painting in oil separated by clear finishes.

The works in the exhibition display his characteristic textured treatment of the painted surface, built with layer upon layer of thickly encrusted acrylic paint mixed with pumice and often finished in vivid colours.

The most noticeable, and therefore notable, features of Keltie Ferris's well - lavished paintings are their two most immediate strata: Ferris finishes off her large - scale abstractions with arrays of spray - painted dots and dashes and then returns with a brush loaded with a higher - intensity, contrasting color to lay down short, chunky strokes tightly packed in vertical, parallel arrangements around the previous layer.

This layering suggests the possibility of infinite paintings under the surface, as though the finished work is just one variation among many.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and conPaintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and conpaintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

Finished with a top layer of white paint, the works archive the advertisements that punctuate urban life and encourage viewers to adapt, respond to, and erase these ever encroaching corporate images.

Reminiscent of early forms of abstract modern art — a moment of convergence that did not actually occur in art history between cubism, constructivism and neoplasticism — her paintings emerge through a process of layering and accrual, with the finished work being «a concentrate of the many paintings underneath».

Single paint drops from the plastic squeeze bottle containing various layers of color are trickle into the individual squares, a process similar to Chuck Close's technique, but with a lustrous three - dimensional finish.

There are no preparatory drawings for a painting, instead the composition is achieved over time, and in the finished paintings earlier devices are clearly visible in relief, under the final paint layer, but fully part of the final work.

Her collage process is an assemblage of bold, colorful mixed media that incorporates type and graphics combined with thick paint, paper, vintage magazines, postcards, fabric and books, all applied in several layers before finishing with varnish or resin.

She then dots the figure with colorful epoxy resin, and finishes by layering on acrylic paint.

Kennedy paints using an intuitive, layering process; she builds and shifts layers of glue with pigment to create finished surfaces that often carry the allure of glazed ceramic.

Brazilian artist Mauro Oliveira creates artworks using special automotive detailing tape, acrylic paint, pencils and other creative media, finishing them with several layers of resin...

At some point during the NRPA's tenure, the original finishes of the studio's ceiling and fireplace were completely obscured by several layers of white paint.

Each begins with the preparation of the painting surface, which itself requires the application of numerous layers of medium in order to achieve the characteristically smooth, matte, and tactile finish that becomes a foundation for the subsequent composition.

All of the works, large and small, have meticulously hand - finished surfaces, slowly built up over time with as many as twenty layers of paint, which are then sanded to a satin polish.

Truitt then finished the artwork through a labor - intensive process involving many layers of paint, each mixed and applied by hand and sanded to a fine finish.

Most often he used water - based paint with a matt finish, as well as matt lacquer in the later stages of his oeuvre, building it up in translucent layers to achieve subtle gradations of colour.

Because the layers are applied quite widely the effect created in the finished paintings is determined not only by the colour and quantity of the spots of paint, but by the order in which they were applied.

Truitt's sculptures were created with a labor - intensive process involving many layers of hand - applied paint, each sanded to a fine finish.

The ideas are developing in his head constantly, he claims, then the process involves painting one layer at a time, and then painting over sections of it with new layers, then painting over that until the painting is finished.

This 20 inch tall by 28 inch wide original mixed media artwork by Rebecca Klundt is a assemblage of found wood, finished with layers of acrylic paint, resulting in a geometric abstra...