Sentences with phrase «layered paint surface»

Drawn initially by the accidental beauty of the layered painted surfaces that cover up graffiti, I recognized them as powerful remnants of development resulting from constant negotiations in an ever - changing urban environment.

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.

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.

For each layer, the challenge was to find a way to mix the electrically conductive material with various polymers to create a paint that could be sprayed onto surfaces one coat at a time.

Essentially, the thin layer of metallic paint provides a consistent surface for light to reflect from.

The iron - and chromium - based pigments of the surface layer correlated with the painting's current structure and its palette of mostly blues (painted with the iron - based Prussian blue and with ultramarine, Picasso's Blue Period blue of choice) and yellow - greens (painted with chromium - based yellows).

However, X-ray fluorescence scans can only be used to detect bone black on the surface of a painting and not in sub-surface layers, such as is found in hidden sketches.

Every work surface reveals layers and layers of colour — the result of countless painting projects.

To cover your Easter eggs in a layer of glitter, simply coat the entire surface of painted or unpainted eggs with all - purpose white glue.

Apply the first layer of paint onto the surface.

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

If there is bleed through of the tannins or stain in the wood after one coat of chalk paint, you should use clear shellac over the surface first, let dry, then apply another layer of chalk paint.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

As the viewer regards two separate paintings by 16th century Dutch painter Pieter Aertsen, titled The Vegetable Seller (1576) and A Meat Stall with the Holy Family Giving Alms (1551) respectively, each cut to a different fragment of the paintings» surfaces raises questions: what do the artworks depict; what is placed in their foregrounds; what is relegated to the background; and, ultimately, what meanings can be excavated from the artworks» layers and represented objects?

The experimental techniques are: white paint printing, collage, wax and scratch, distressing surfaces, dripping paint, scraping paint, using sgrafitto, cardboard collaging and layering and digital manipulations with collage to using fabric and sewing into surfaces.

Simply tape off the edges of a table, prime the surface, and apply a couple layers of whiteboard paint.

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.

The «self - cleaning» paint, called Ultra-Ever Dry, creates a protective layer of air between the paint and environment, effectively stopping standing water and road spray from creating dirty marks on the LEAF's surface.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Ambiguous features can morph from immense beauty into utter despair, with hints of the eyes breaking the surface beneath layers of paint, charcoal, turpentine, expressive brush strokes and often physical DNA from the artists» fingertips.

Ruth's fascination with layering — of placing transparent glazes over the surface of a painting — has become a signature of her work.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

William Pettet (born in 1942), by 1967 in Los Angeles, was painting minimal, square, monochromatic paintings with meticulously layered and sprayed, acrylic surfaces.

The paintings feature a heightened chromatic palette, complex figure / ground reversals, and interlocking forms, as well as a variety of surface textures modified by successive layers of resins, oils, and waxes.

Malevich said that a painted surface is a real living form, here in sheer vitality Leonhardt activates her paintings with numerous layers of thick oil paint.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

Rubin builds up the surfaces of her work with undiluted, unglazed layers of oil paint applied with uncanny precision.

Those layers harden with various thickness and viscosity, the pools of paint, cracks, and coagulations creating enticing surfaces that capture a delicate relationship between control and accident.

Jones then paints numerous layers, repeatedly sanding and reworking the surface to attain a natural abraded texture.

Upon exploring the stained surfaces of Krone's Screen Paintings, one is made aware of the causality occurring between the artist's systematic layering process and its entirely arbitrary result.

The densely layered surface of built - up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions.

Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard - Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors.

The paintings by David Ainley are colour monochromes built up in layers of thick paint, forming a substantial surface into which Ainley scores lines, revealing parts of the underpainting, in a process that is similar to excavation or mining.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

But when seen up close, what look like Impressionistic brushstrokes reveal themselves to be tiny but precise indentations, carved into surfaces that have been built up with dozens of shimmering layers of acrylic paint.

In Still Life on a Red Tablecloth (1934), painted and incised patterns provide surface variation to the layered fabrics on the table and heighten the color.

The surfaces of these works are hyper - refined in some passages, offset by several visibly distinct layers of paint, and Reynolds manages to capture the awe - inspiring mountain sky and light with exceptional accuracy, nodding to the Light and Space artists» interest in tempered atmosphere.

Seliger was equally celebrated for his meticulously detailed abstractions as well as for the techniques he invented and used to cover the surfaces of his Masonite panels — building up layers of acrylic paint, often sanding or scraping each layer to create texture, and then delineating the forms embedded in the layers of pigment with a fine brush or pen.

In each painting, a thin, vertical line where the cleansed and painted sections of the composition meet visually vibrates with the remnants of the surface's original layers of paint and separates the two halves of the canvas.

[11] The layers of paint build up a surface with tangible depth.

The surfaces of the works are comprised of layer after layer of paint — a skill he has been honing his whole career.

Sakaizawa's iterative process makes similar use of the canvas, as layers of paint, applied in dozens of identical gestures, build out beyond a two - dimensional surface.

To prepare the ground, he covered the entire surface in multiple layers of a radiant lead white, which were then sanded down and painted again, only to be sanded anew, «until the surface became almost translucent» (M. Stevens and A. Swan, De Kooning: An American Master, New York, 2004, p. 562).

Richter drags, smears, and scrapes layers of wet paint, leaving tracks of his movements across the surface and then covering them up.

Moving into the latter part of the 60s, the third and fourth rooms suggest a broadening of Hoyland's palette and a more overt crowding of the surface with forms and, in the case of 17.1.69 (1969), a layering of the paint in so sophisticated and meticulous a manner that the canvas tends towards opalescence.

Bold brushstrokes tear through delicately painted passages, producing intricately layered tumultuous surfaces.

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.

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.