Sentences with phrase «leaf painted surfaces»

Not exact matches

The chemical could also be added to paints, causing them to lift off in a sheet, leaving clean, bare surfaces underneath.

It is easy to imagine how someone in prehistoric times might have placed their hand on a flat surface to apply body paint, and noticed the pattern left on the surface afterwards, leading to the making of hand stencils and then to drawing outlines.

I'm leaving the horizontal surfaces in walnut and painting the rest white.

Leaving the top surface of a piece of painted furniture in its original wood grain appeals to me on so many levels.

The spray paint will adhere to your surface in a variety of areas leaving you with a marbled paint appearance.

It is a super easy paint method that will leave you with a marbled surface in just minutes.

It leaves a hint of color over the existing paint surface, and depending on how dark you want the wash to be, you can do more than one coat.

Gently wipe from one direction to the other - otherwise you run the risk of leaving an imprint of the rag in the middle of your painted surface.

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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.

Chinchillas should be taken out of the cage every day to play and exercise, but they should never be left unsupervised, as they may chew on electric cords, painted surfaces, and other toxins.

There are fresh skins, emotes, harvesting tools, skydiving trails, gliders, back blings, and emoticons, plus the new sprays which allow you to paint tags on surfaces and leave your individual mark.

You can see around this apple that I started fairly pale and for the darker patches to the left I was using the technique the encountered at the beginning of working undiluted paint into the surface with a turps soaked brush.

I left my painting for two days, but keep an eye on surface, because you want it touch dry but not completely dry.

For example, bubble wrap can actually meld with the surface of an acrylic painting, and leave a permanent texture!

With canvas, it's important that nothing touch the surface of the painting that might leave an impression or otherwise damage it.

Barré created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.

In the first main gallery, eight large paintings fail to advance Koons's fantastic dream of producing a handmade two - dimensional surface so intensely, intricately fashioned that all signs of human life disappear, leaving the effect of a man - made inkjet print or a nonvirtual JPEG.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Her untitled paintings feature copper and gold wires embedded in heavily gessoed surfaces, and fields of marks left with goldsmith's tools, most notably the thinnam, traditionally used to incise ornamental patterns in bangles.

Works that are about the pleasures of paint, drawing, surface, material, color, feeling, sensuality, pure visual language, visual ideas, plastic space, beauty, and intuitive expressions are by and large left out.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked.

Turpentine is then repeatedly applied by brush to remove the paint before it dries, washing away or, as Innes has described it, «unpainting» the surface, leaving all but the faintest vestigial traces of color.

Starting from an abstracted image of a waterfall — paint which has been left to literally drip down across the painting's surface — Steir's paintings borrow from the vertical compositions of Chinese landscape painting and reference the metaphysical power of the waterfall as a symbol connecting heaven and earth.

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

At a slight angle to those, some of Bernard Frize's earliest abstract works were made peeled off the coloured skins from pots of paint left open in the studio, and applying them over the surface of the canvas.

By drawing on top of already painted surfaces, and sometimes impulsively pressing down newspaper onto wet paint and then pulling it up to leave behind the accident of reverse type ink marks, de Kooning opened up a whole new territory for painters to explore.

I've been painting on glass mirrors, leaving lines of reflective surface exposed in a fluidly painted surface.

Instead of diamonds and hearts there are soft and voluminous snow - white peaches, peaking out from a wall of crisp green leaves, gently rendered to achieve a level of sameness on the surface of the painting.

In his paintings, emotion arises in the clashing, congregated, dynamic thrusts, often framing intervals of whiteness or natural surface left open.

Done on unbleached canvas, while leaving the bottom half of the painting untouched, «Abstraction» (2002 - 2015) hovers between being a brown cloth surface on which paint has been applied and a deep space terminating at a far wall.

By the time he finishes a painting, however, it is difficult, if not impossible, to identify any direct references; the viewer is left with the slightest scent of the sources and information buried under the strategically obfuscated surfaces.

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

With the the beautiful surface left bare instead of dusted with glitter and slathered with paint, the dancer - like torso of the monochrome paper sculpture Fan farinade completely won me over.

There is an undeniably sensual quality to the paint brushed onto the paper's surface as it modulates knowingly between generously applied paint that leaves delicate drips and the dryer, brushier strokes.

These consist of crushed metal (sourced from new industrial steel tubing, the cutting - room floor parts of previous works, or found scrap metal) with surfaces that are either left as - is — in the case of the raw, rusted found pieces — or painted with light - absorbing, velvety car paint.

Trees, flowers, clay, fruit, ice, sugar, and chocolate have all appeared as regular protagonists in her work, including a carpet of 10,000 flowers left to wilt on a museum floor; a room whose walls the artist painted in chocolate and then invited viewers to lick its sweet but precarious surfaces; and a thirty - two - ton minimalist grid of ice cubes melting in a nineteenth - century water pumping station in east London.

This process created different patterns and the nozzle of the spray paint cans were also left on the canvas surfaces.

The pulled wedge pieces are the outcome of a labor intensive, meticulous process that also leaves room for surprise in the ways in which the paint interacts with the varied surfaces and textures.

The superslick finish of the paint jobs on the vending machines draws you in to the illusion that they are real, but go behind the works and you notice that they are intentionally left «unfinished», revealing the falsity of their mdf construction, the truth behind the surface veneer.

In Li Trincere's trapezoidal and cruciate paintings, the simple forms are enhanced by the rich and glossy surfaces achieved by the application of multiple coats of acrylic or sparkly enamel paint; meanwhile Matthew Deleget's humorously nihilistic single - color paintings are nearly destroyed by hammering out the centers, leaving an irregular maw of colored shards and the wall surface behind the remains.

This surface is then explored with acrylic paint, gold leaf, and encaustic.

Which reduced painting to surface, objectness, color, and gesture; that's it; there was nothing left.

Each of these paintings moves between surface appearance and psychic depth, conveying a nuanced range of emotions that are left to viewers» interpretations.

Notwithstanding the use of acrylic paint, he makes the influence of illustration apparent, equally attending to all of the aspects of the painted surface without leaving anything to chance.

Humidity plays havoc with oil paints which sink faster into the canvas, but he seems to have shrugged and let them go their way, appearing thinner and even patchy on the surface of some canvases, often leaving the weave visible and occasional gaps between blocks of colour.

In the works, Hammond layers hand - painted images with sheets of mica and metal leaf, creating an alluring surface that shifts with different vantage points and surroundings.

Consisting of hand - painted images derived from the vernacular photos, the paintings bear a captivating surface of mica sheets and gold, silver, copper, and palladium metal leaf.

These works challenge the traditional two - dimensionality of painting and leave the viewer with an almost sensual, clothing - like sense of the painting's surface and the body below.

For example, another Poons title for a painting of a different order is «The Flying Blue Cat» (2011), which may reveal to viewers a region in the upper left space of the composition that illuminates the surface in ways previously not considered.)