Sentences with phrase «layered painting process»

If you feel you need more details or would like to see the layered painting process as it happens, you can purchase the video and watch as I walk you through all the layers and share tips as I go here: Blend & Layering Paint Video Tutorial (after purchase, the video link will be emailed to you)

Over the past number of years I have worked in thematic series, beginning each with a conceptual framework and then allowing the layered painting processes to determine the eventual form and content of the work.

Not exact matches

, a layered process, and allowed for «negative» space (the white between the diamonds), making for a sophisticated piece, rather than simply throwing paint onto the canvas and calling it «abstract» (which to me means, «I couldn't be bothered»).

Layering paint colors is such a creative process.

Majewski uses CGI to place actors within Bruegel's paintings and layer live action in painterly compositions, both as a way to explore the creative process and as illustration and commentary on the social and political reality of Spanish - ruled Flanders that inspired Bruegel.

«We did all stretch and stipple because we didn't have any more money for prosthetics,» Denaver said, referring to the common process of stretching the skin and holding it while applying liquid latex, powder, and paint — in multiple layers to Janney's entire face, hands, and neck — to create wrinkles.

A new Lexus painting process that uses multiple layers of clear and deeper - colored coating brings the RC coupe to life with a brighter and more contrasting shade, especially on the racy red exterior.

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

Through overprinting (sometimes thirty or more layers) she was able to emulate the fluid, process oriented mark - making also found in her poured painting.

The Minneapolis - born artist shoots high - resolution black and white images through glass blocks, then adds photograms during the development process and, for the final layer, hand - paints the prints.

Abramowitz writes: «As is typical of his paintings, [Auerbach's] drawings often show many layers of built - up re-workings until there is a dense mangle of lines, each mark thought through, erased and re-considered until he is satisfied... His working process results in portraits that are both an expression of his reaction to the sitter, and his own idiosyncratic way of working, creating, destroying, and creating anew.»

Going back to how you [Gooding] describe the earlier work, there was in fact a self - conscious desire to block off or direct the viewer's process of looking at it or looking into it, and this later evolved into a later stage in which there was actually an invitation to «look in», but in which at all times the viewer was encouraged to be aware that the painting was made out of real things, real physical layers, rather than illusions.»

Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos - provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany.

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.

His paintings rise from the depths of well - considered planning and intellectual consideration; Portilla reaches unique coloration through careful layering while letting the process of painting and exploration reign free.

The texture of the heavy - weight watercolor paper needed for this process adds a layer of abstraction more akin to the language of drawing and painting than photography.

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.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

This process is repeated, leaving one half of the painting covered in layered, complex color whilst the other half of the painting is cleansed as much as possible back to the original gesso.

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.

After experimenting with resin for over 20 years, Lee's latest work combines this material with acrylic paint in a process that produces three - dimensional, sculptural layers.

For the image, Close employed the four basic colors used in color printing — cyan, magenta, yellow, and black — to recreate the photo - mechanical reproduction process, using the airbrush to carefully control the layering of paint.

Hernández's method involves literally digging through layers of paint to the canvas, in a process that the artist associates with sculptural carving.

The paintings of Berlin - based artist Clara Brörmann, currently hanging on the walls of Nicelle Beauchene Gallery, reveal an innate sense of clarity, though a direct understanding of each work's process may be lost in the layers.

Truitt layered her paint over vertical wooden boxes, distinguishing her process from the more industrial, impersonal strategies that many of her contemporaries relied on.

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.

Truitt's wooden sculpture combines a heavy, durable material with the refined process of handpainted layers of richly colored paint.

Fox's process, continually adding and removing layers of paint, echoes the way that geology forms slowly over time by evolution and erosion.

Through layers of paint applied in an utterly abstract gestural style, which seem to cover instead of disclosing an image, the pictures record time, summing up the experience of looking, processing, and representing.»

These paintings are the product of a labor - intensive process known as frottage, in which paint is first applied to the canvas before the artist methodically alternates between scraping off existing layers and adding fresh coats.

Through the process of transcribing these sketches into paint he has to scrape and reapply paint repeatedly; forming several layers that overlap which creates further abstraction of the figure and its surroundings.

Schiele famously traveled everywhere with a full - length mirror that once belonged to his mother, and Saville also uses full - length mirrors, as well as photographs (the latter to «hold the image down,» in her words), to aid in the lengthy process of painting her fragmented and layered figures.

Damien Meade, born in Ireland, is known for his paintings which are the culmination of a layered studio - based process that begins with the artist modelling a structure from clay in his studio, shaping it and giving it form with his hands.

The process of Wolniak's recent paintings is harder to trace by eye, given the visual complexity of their layered surfaces, but the evidence is there.

Referencing formal systems of Abstract Painting, Fox explores the language of relational color, as articulated through layered processes.

Both Jackie Saccoccio and Jessica Dickinson offer works that through their process - based painting and drawing emphasize the physical layers of residue to a literal past.

«Through an innovative process of layering, embellishing and eroding materials, Bradford's paintings are a kind of an archeology of the present, even as they explore the limits and possibilities of abstraction.»

Building up multiple layers of oil paint as he works, Richter mobilizes paintbrush, squeegee, scraper and palette knife in his signature process, his wealth of experience meeting his careful deployment of chance in highly detailed and extremely complex pictures.

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.

Despite their layered complexity, Walsh's paintings make no mystery of their process.

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

Over the years, Bozic has developed a complex process of masking and staining so the natural grain can collaborate with each composition using multiple layers of watered down acrylic paint on maple panels of wood.

Thea Ballard with a short review on Bracha L. Ettinger's latest exhibition at Callicoon Fine Arts, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

At a deeper level, FLOW and EBB is a metaphor for the fluctuating art - making process - the act of mark - making, adding and removing paint and other media over many layers, echoing the way the landscape has developed over time... a building up and a breaking down.

I use an artistic process that often consists of layering thin, transparent paper upon which I subsequently paint and draw.

, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

Images are established through a rigorous process: layering ink and acrylic as a foundation, with subsequent layers of oil paint to transform.

Though derived from the same painting, the mechanized process of the jacquard loom gives each tapestry a unique color scheme and compresses Richter's signature scrapes and layered compositions, creating a form in between painting and photography.

In a process that mimics the push and pull of water currents, the artist builds complex textures from layers of paper, paint, ink, and thread.

The pigment is not painted within the outlines of the shape; instead it is layered thickly on to the paper, mixing in small amounts of turpentine, and then adding varnish little by little in a laborious process which lends physicality and depth to the two - dimensional works.