Sentences with phrase «layers of paint there»

Here's the issue — underneath many, many layers of paint there is original wood.

Not exact matches

Once I've printed the fabric, I embellish the prints further by using a mix of techniques, such as hand or machine stitching, adding touches of colour by hand painting small areas here and there, all of which add an extra layer of interest to the prints.»

I then painted the box using primer just to make sure there is no bleeding through the paint, I used some grey paint for the base layer and for the top layer I used some of my home - made chalk paint to paint it.

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.

If StarCraft were to be released for XBLA, Blizzard should update the visuals here and there and apply a slick new layer of high - definition paint.

When your car is waxed, then there is an additional layer of defense for your car's body panels aside from its paint.

So Saturday evening I did a little bit of spray painting in my back yard and she was out there for one layer of paint and was anywhere from 2 yards to 20 yards away from me.

There's a superficial part to me as well, so I want to show that in the line drawings, but I also possess the sensibility that's expressed in the color paintings through the layers of paint.

There are schools that teach Tonal Value by having you paint first in monochrome or Grisaille, and then painting over this with layers of color.

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.»

This painting is very superficial with the perspective, with the illusion, to get you into the layers of the image, to the conceptual part, to the idea of the land and what has happened there.

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.»

There are a lot of silver under - layers in my paintings that get covered up and they change how light magic happens.

The leaping colors and shapes layered in Cecily Brown's paintings are energized by the influence of artists including de Kooning and Rubens, so it's not surprising that there are some intense sketches behind them.

Ferris: Spray painting is a very thin way of painting, and there are many layers of thin paint.

There's something about the quality of the brushstrokes, the layers of paint and glaze creating depth, and the use of forms that can conjure dreams of a cityscape that feels like his work belongs to both contemporary abstraction and the heyday of Abstract Expressionism.

It was there that he spent the majority of his life, becoming a French national in 1962, but it was only after enrolling at the Slade School of Art in London that Poliakoff discovered abstract painting and the importance of layering.

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.

When I'm making a physical painting, in order to make the next layer of a composition, I have to change what's there and wreck it and overrule it, so it's much more pleasant and kind of liberating to suddenly have the past available.

There is no need to pre-define their characteristics because these reveal themselves innately.The layering of painterly thought is an art form that attracts artists who start with an idea and accept that it will not be carried out as planned because unforeseen changes — some radical, some subtle — will smuggle themselves into the making.Overall, Kahn's paintings became much more complex.

And, like rogue drones, imagery and structural anomalies land in the composition and there — anchored among layers of hand drawn lines and surface embellishments — they become paintings.

There is also a performative quality in his works, which becomes clear not only when Linnenbrink pours the resin with its added pigments onto the image carrier, or drills holes in the hardened paint layers of some paintings.

There will be demonstrations of layering and intermixing media, techniques and substrates — ink, pastels, acrylic, oil paint, collage, and monoprinting.

There's a layer of time in the way Twombly's Bacchus paintings seem both to go back to earlier works, like the blackboard paintings that are in some ways so austere and cerebral.

One can almost see your strokes as a kind of allover calligraphy, and there is something about the space in some of your paintings that seems to build into a space like, for example de Kooning's ribbons of color that are layered and overlapping, and working with and against gravity.

Sometimes there are elements of collage; on occasions the aluminium plate sits behind a pair of acrylic layers, themselves painted on to create a three - dimensional effect.

There is duplicity in each painting that traces the relationship between violence and defeat, and he successfully represents the process of decision - making in his layered canvases.

Indeed there is an unresolvable tension between the vividness of the paintings» enlarged content, and the accumulated layers of mediation or reproduction that separate that content from the here - and - now.

Since the «Skinny Jeans» paintings have multicolored layers underneath, the performance of the paintings is very much about revealing the surface as incidents of light, brushstroke and touch and (sometimes symbols or graphic images) so there is always a double text of «painting the paint» and revealing the image that states it's also an act, a performance of text and subtext.

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.

It was a Futura 2000 style scrape, Because we had the «Celluloid» covers, The Phase2, The Futura, there were those four records and it's Futura standing by one of his paintings with a scrape on it and we used to look at it and wonder how he'd done that, so I tried it... Just layered the paint down, scraped it and that was the first real abstract painting that I had done.

I am sure Tracey Emin is here because of her name, but there is a great group of watercolour and ink drawings by Lucia Nogueira — who understood how to use tentativeness as a positive quality, as well as full - on emphatic colour against the whiteness of the paper — and a group of Callum Innes works that are to do with veiling, and the way layering of colour affects the luminosity of watercolours, which all depend on how light passes through the paint and is reflected back at us.

Morgan writes: «Eager to dispel any and all traces of what he knew was «out there,» Scully assiduously began to paint in relation to layering.

Liebman remarks: «Every decision I make I want there to be a formal reason and another level of meaning, so it works on multiple layers... When I see the paintings, I can't help but see them in reference to the original image, but the viewer doesn't necessarily have that.

There's no eraser or additional layer of paint to disguise a mistake in this practice.

In her most recent works, abstraction takes precedence, yet there is always a connection to the figure, however muted, under layers of thinly applied paint.

There is no mystery concerning the production of the work as one might ponder layers of paint in one of Reinhardt's paintings.

There is texture; the subtle dips and hills left by sanding away multiple layers of paint make the panels visceral in a way completely unlike traditional paintings.

It seems (at the risk of making a simplistic checklist) there could be some criteria for abstract painting such as; non literal, integration of the picture plane, even optical pressure (Richard Ward's term in a Brancaster discussion), no false structures, no layering, relationality.

The video — the only work in Rose's first show at Pilar Corrias — runs for roughly eight minutes and is a feast for the eyes, layering cut - out imagery from illustrated children's stories in a profusion of media and textures: there are clippings of half - tone printing, paintings, pencil sketches and digital pen drawings.

There could be no finer retort than the eloquent paintings of McArthur Binion, which employ the artist's own private documents as the primary layer of beautifully worked lattices.

While the drip paintings were built up in energetic layers of color that could veil errors, Mr. Delahunty argued, there was nowhere to hide in the black paintings.

There are also examples from the Lens Paintings series which used semi-transparent layers of materials to attempt to emulate holograms.

There is a distinctive methodology behind the making of his layered paintings, the assembly, preservation and transmission of information are integral to his process.

The luscious greens mingling with vivid yellows, punctuated here and there by traces of blue, are vaguely suggestive of landscape elements, while the evidence of creation and destruction in the paint layers also invites parallels with organic or natural processes.

At first it may seem like a totally blue painting, but actually there are many layers of different g...

At first it may seem like a totally green painting, but actually there are many layers of diff...

In order to better understand this, there is a practice of first painting your image completely in grisaille and then layering color over the top, like a glaze.

Yet there are as many meanings to be found in a Johns painting as there are layers of encaustic: Painting with Two Balls could also be interpreted as grappling with the macho enterprise of Abstract Exprespainting as there are layers of encaustic: Painting with Two Balls could also be interpreted as grappling with the macho enterprise of Abstract ExpresPainting with Two Balls could also be interpreted as grappling with the macho enterprise of Abstract Expressionism.

Why hasn't there been a major New York show of Philip Taaffe, whose layered, richly colored paintings are actually taking the medium of painting in a direction it hasn't been before?