Sentences with phrase «layering painted paper»

The technique involves layering painted paper and photographs of natural landscapes and jutting urban monumental fixtures.

Not exact matches

Mommy just doesn't want to have to set up all those paints, watch you completely soak through a single sheet of paper with seven layers of paint, and then move on to the next thing, leaving her to clean up.

Old buttondown shirts make great smocks when worn backward with the sleeves cut off, plastic sheeting under the modeling clay construction site can protect the rug, and large sheets of butcher paper over the crafts table can prevent an encrusted layer of multicolored paints or glue.

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.

To create the wallpaper, the team started with steel foil sandwiched between layers of paper that are coated with magnetic paint — acrylic paint infused with iron particles.

Different mixed media painting techniques, using glue, string, card, wax, paper to manipulate and to create texture with acrylic paint Looking at famous artists like Jackson Pollock, Frank Auerbach, David Bomberg, John Hoyland and Howard Hodgkin Resources: Acrylic paint, Sponges, sticks, large and small paintbrushes, credit card, string, glue, Punchinella, kebab sticks batik wax, sand, tissue paper, scrap paper and glue guns, Creating a number of different textures with acrylic paint and see what other mixed media layering one can achieve with chalk and oil pastel as well to layer over the acrylic paint.

Paint reacts just as is would in real life, with paper blotting with watercolours, layering up with oil paints and you can even scrape away the layers to reveal your base colours.

In coloured pencil painting we don't of course use masking fluid, but it is possible to preserve the colour of the paper, no matter how much colour you layer on top.

She achieves this visual effect by creating a layered visual — a digitally printed photograph based on paper or linen, merged with painted acrylics on layers of transparent silk.

Bradford, in his new paintings focusing on cartoons, builds on his signature practice of layering paper scraps found on Los Angeles streets.

Catherine Craft, in an exhibition review in The Burlington Magazine described a series of Almquist's paintings included in a solo exhibition in Munich: «Richly, almost hallucinogenically layered and spotted with fragments of yarn, paper towels and in one case two papier - mâché balloons, his Junky Fruit paintings suggested a lurid transformative decay capable of eliciting fevered visions of other worlds....»

Photo by Victoria L. Valentine Bradford's collage paintings are composed of multiple layers of found paper that create visually intriguing patterns in fabulous, unexpected palettes.

Bradford explores social justice issues through collage paintings composed of multiple layers of discard paper, flyers and posters found near his studio.

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.

Underneath her vibrant layers of oil paint, cut and torn pieces of heavy white drawing paper cover a rectangular panel.

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.

Her vibrant abstract collages layer hundreds of vibrantly painted pieces of paper into dense collages that speak to topographies and mapping.

Using many layers of painting media, washi paper, and marble dust on panel, an exquisite surface quality is created that evokes ancient walls or tablets.

So I built these paintings in layers, kind of like carpentry, using felt, paper, canvas and wood like you would in a collage, only in a more geometrical pattern.

In the last years of his life, Pollock's fascination with different types of paper led him to special handmade sheets that allowed the paint to permeate below the main layer, thus achieving fortuitous variations of his well - known poured painting technique.

Below: Judy Pfaff, Untitled # 33, 2007, ink, found images, acrylic paint, perforated and layered paper, app 14 x 18 inches framed; image from the gallery website

We used 90 - lb cold press paper and layered drawing upon drawing and paint upon drawing.

I worked on paper and began to incorporate Chinese decorations into my paintings — pushing the layering of space with stencils of these forms.

A stretched canvas forms the work's primary structure; loosely applied paint, punctuated by an isolated cluster of thick, frenetic paint strokes, consolidates multiple layers of paper and fabric fragments, concealing much of the surface.

A 2009 MacArthur Foundation «genius» award recipient, Bradford (b. 1961), based in Los Angeles, is best - known for large - scale abstract paintings made from a variety of collaged materials, including billboard paper, permanent - wave end papers, newsprint, carbon paper, and other papers layered together (or stripped apart) and then manipulated with nylon string, caulking, and sanding.

Through layering watercolor - painted paper, Solomon's work straddles the second and third dimensions in levels of transparency that builds on and reacts to each other.

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

One can see his hand on video, applying thick daubs of paint — which just happen not to match the thin layers of color and peeling paper on canvas.

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.

Their laminations of paint, paper, Mylar and fabric tell us visual stories, and manage to capture time, narrative and social commentary in layered surfaces.

He says that the Hirshhorn piece will likely be another «pull painting,» a technique developed by the artist that involves building up layers of colored paper and then sanding, cutting, peeling, and stripping away material to reveal a wall drawing.

(Deemed the gold standard for vetting classical and modern art, deep knowledge of the artist's process — brushstroke, paint application, layering, rubbing, washing and so forth — were further supported by the new tools of x-ray fluorescence, infrared spectroscopy and x-radiography to more precisely date paints, paper and canvas and assess structural integrity.

As students we were doing lots of things around our paintings while we were making miniatures: checking our colour palette and tools at the edge of the paper, trying out different kinds of lines while making the borders, even tracing figures then hiding them behind a thick layer of paint.

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.

Highlights from this include his piece Spiderman (2015), in which the artist takes on the persona of a trans woman for a raunchy, politicized standup routine, and his signature large - scale abstract compositions, which he forms by layering paper and paint before sanding them down to reveal previously - obscured layers of color.

Created by layering thickly painted areas with fragments of found maps, the composition mixes mechanical reproductions with tactile brushwork to yield a central circular form edged by both paint and paper.

Innes's new works on paper are comprised of ethereal squares of complexly layered colour painted on paper with the dexterity and sensitivity for which the artist has become known.

The fiberglass pieces, layered with rice paper, paint, silk - screens, and varying images and patterns, explore dualities of culture and meaning, reflecting the Hindu tradition of paying tribute to dualities - including the worship of both good and evil deities.

Mark Cooper's paintings and sculptures made with fiberglass pieces, layered with rice paper, paint, silk - screens, and varying images and patterns, explore dualities of culture and meaning.

Crafting abstract paintings from fragments of the urban environment — permanent - wave end papers, billboard paper, posters, newsprint — Mark Bradford has built a body of work that is richly layered in both material and meaning.

Harnischfeger's wall - mounted works, in which she paints, builds up and carves out layers of paper and plaster to a deliberate but rough - hewn effect, or shapes hunks of clay and plaster into freeform objects, resemble fantastical topographical maps, odd geological formations, or fragmented, expressive portraits.

Each consists of multiple layers of handmade paper from the inner bark of the paper mulberry tree, painted by the artist with sumi ink or gently singed.

In his later paintings, it is buried in fine layers of paper or noodles, concealed under thick blobs of colour.

His most celebrated compositions are meticulously executed and densely variegated, built up in rippling layers of paint, resin, glitter, paper cutouts, and ink.

Made of layers of paper dipped in water and ink, chunks of plaster, glass and crystal shards and pieces of rock and quartz, Harnischfeger's wall works bristle with the taut energy borne of multiple materials situated over and against each other: built up, carved into and painted over.

The piece comprises layers of inkjet prints on acetate — a door with an «Audience Entrance» sign and what could be seen as pulled blinds or lined notebook paper — as well as paint and solvents.

She then carefully registers the freshly painted plate to the ghost print on paper, merging worlds of color into one whimsical, ambiguously layered and gestural landscape.

I also layered paper and painted over it to add texture to the street, buildings, and background.

Layers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point ofLayers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers wears away the visible to the point of ruin.