Sentences with phrase «left edge of the painting»

While the paint is still thoroughly wet, a brush loaded with black oil paint is dragged horizontally in a straight line from the top left edge of the painting almost to its right edge.

Not exact matches

It might also be cute to dry rub some gold paint or add a little bit of gold leaf on the edges for some sparkle.

Using chalkboard paint, I free - handed the centers, leaving just a tiny edge of the wood unpainted.

If it were me I would seal them just as they are, leaving the old paint on the edges to show the history of the home.

The painted edge of a side mirror on another car recently scraped the side of my vehicle, leaving a scuff of paint about half a meter long.

Buyers have the option of a panel that clear coats the center section to leave the carbon fiber weave visible and paints the edges to blend into the body color.

In order to view the painting, the leaves of the book must be fanned, exposing the edges of the pages... [Read more...]

In order to view the painting, the leaves of the book must be fanned, exposing the edges of the pages and thereby the painting.

Weeks of holding it in left hand and using stylus in right hand does erode paint from the left edge.

The «Protractor» series of the late 1960s saw him paint hard - edged rainbows of color on asymmetrically combined, broadly curved canvases, forever leaving behind the rectangular frame.

The painting's right edge crops the blue form while the left side of the green square about the unpainted vertical band.

And the only kind of horizontal lines we have are really on the top left and the bottom right, and otherwise, even the edges, the side edges, of this painting are diagonal, so they almost shoot you out to another artwork or whatever else might be in the room.

They are large, quiet canvases of clean, clear stripes, which cling to the edges, leaving the centre of the composition empty, but for a dappled field of thin paint.

Leaving her brush strokes visible, the edges of her canvases raw and allowing paint to drip down the sides of her workswhile showing glimpses of underpainting, Murray emphasizedher paintings as hand - built and hand - painted, reminding the viewer of the physicality of her process and the importance of the formal aspects of painting.

Cracco invites viewers into the intimacy and the danger of light, whether it is the low light of a candle, the flash of colliding atoms, or the blinding light of the sun, Blinded highlights the importance of the surface, the value of improvisation and the simple fact that just as light can not turn a corner, when you get to the edges of these new works the illusion breaks down, leaving viewers with the memory of being blinded by the intimacy and the intricacy of color and paint.

Significantly, Grosse leaves one area at the edge of the entrance wall unpainted, exposing the original layer of the architecture and simultaneously allowing the painting to frame itself.

The drips and washes that so vividly recall the liquid state of the paint as it leaves the brush are most aptly visible in the perfect summer painting, Pool, which uses four panels of Dura - lar paper (like vellum) on which she has drawn more than painted the delicate tracery of plants, layered over a firm painting of a pool edged in a blue crosshatch pattern, the most representational moment in the show.

For both Framed Painting: Boat and Framed Painting: Two Girls, Fuchs again renders each work respectfully, including the gold - leaf scrolls on the traditional frame for the painting of the young women and the severe edges of the grey frame for the maritimPainting: Boat and Framed Painting: Two Girls, Fuchs again renders each work respectfully, including the gold - leaf scrolls on the traditional frame for the painting of the young women and the severe edges of the grey frame for the maritimPainting: Two Girls, Fuchs again renders each work respectfully, including the gold - leaf scrolls on the traditional frame for the painting of the young women and the severe edges of the grey frame for the maritimpainting of the young women and the severe edges of the grey frame for the maritime scene.

You can see that I'm painting this in a vignette format, ie: the edges of the picture are left unpainted.

The decoration at the center of this blouse recalls O'Keeffe's paintings of crinkly - edged autumn leaves and corrugated seashells.

In the current show, the aftermath of this interaction is most apparent in «April» (1991 - 92), a large amber, yellow, red and blue painting (50 x 80 inches), and especially in the smaller (53 x 46 inches) green, orange, ocher and black «MARCH» (1995 - 96), where the dots end just shy of the canvas edge, leaving an uneven, unpainted border.

Next to it, along the painting's left - hand edge, a white garden trellis supports hints of flowers and plants.

In his early paintings Marden left a bare narrow margin at the bottom edge of the thickly worked surface of oil mixed with wax to allow the observer to be witness to the process.

To the Davis picture's left hangs Miriam Schapiro's Another Red Room (1967), a hard - edge work considered noteworthy partly for her pioneering use of computer modeling to experiment with 3 - D perspective, in contrast to the resolute flatness of the Davis and O'Keeffe paintings.

An even larger untitled painting from 1983 has a more diffuse sense of animal energy, its leaf - like or wing - like forms expand outward from the edges of the canvas, snaking along the large wall it occupies.

Areas of white canvas are often left to show through, and in later works, paint is sometimes confined to the edges of the canvas.

In «Into the Groove» (2010), which was painted on a slightly off, rectangular piece of wood, with a small circular indentation punched into it and two strips of corrugated cardboard adhered to its surface, Clippinger echoes the scalloped edge of one cardboard strip by painting a similarly scalloped form in black along the painting's left edge.

The first application would have been the matt black paint that creates the black and white pattern covering the entire stretched face of the canvas and the left and right edges (i.e. the two edges that can be seen when the painting is on display).

Leaving her brush strokes visible, the edges of her canvases raw and allowing paint to drip down the sides of her works while showing glimpses of underpainting, Murray emphasized her paintings as hand - built and hand - painted, reminding the viewer of the physicality of her process and the importance of the formal aspects of painting.

Views from city windows, gentle scenes of washing lines in back gardens, the artist's shadow on a summer lawn with her painting tools at the far edge of the image: these objects of the painter's attention declare themselves while leaving room to breathe for both viewer and artist.

Identified as part of the California hard - edge painters, after she left surrealism - influenced work behind, Windblown has an unmistakable lightness and seems to foreshadow later works that more closely incorporate references to the landscape into her geometric abstract paintings.

This original artwork uses a unique combination of gold leaf, acrylic and watercolour paints and pastels on 5 cm deep edge stretched canvas.

Shown at the New Museum, seated in her solo exhibition Don't Axe Me (2013), she explains how she scrapped away areas of her thickly painted canvases and inlaid black paper birds, leaving their sharply cut edges distinctly visible.

Painting on raw canvas, she presents an assortment of recognizable objects (fire, smoke, alligators, matchsticks, letters) and simple geometric shapes (circles, zigzags) by using bright even colors and sharpened edges, leaving strong instant impression which continues to resonate visually, and creating moments of perverse tension.

Pressing paint, some of it left over from her school days, directly onto paper, vellum and Mylar, she worked so fast that a tube's metal edge marked one of her images, Lemon.

This sense of intimacy is achieved through his paint application, the sensuous grey scale of his colors, and unfinished edges left in many of the works.

The black underlayer plays an important role in the design, as it remains visible through the thin paint and was left exposed around the edges of many of the brightly colored shapes.

They reach the same height as each other but the block on the left extends slightly lower, or closer to the bottom edge of the painting, than the block on the right which is wider.

K (1979), five foot square, bisected by an off vertical line achieved by joining two canvases black to the left and blue to the right, with the green of the painted edge just showing as a narrow line down the (off) centre.

The muted hue of each painting results from the subtle layering of bright colors that Morris leaves exposed along the edges of the predominant forms.

In the square painting «I Dream of Spring» (2017), done in acrylic, there is a particularly pleasurable weaving together of three progressively lighter gray bands, which start at the painting's left edge, separated by a maroon, magenta, and pink stripe.

On their face these final drawings, and the one painting that was their result (Homage to Mondrian, 2001 — 2003), are composed of just two broad bars of color, one an elongate rectangle hugging the lower left edge of the canvas, the other swung upward as if hinged to form a raised horizontal axis bisecting the canvas left to right slightly above center.

Spray the cans with a water - resistant paint and leave to dry, then pierce the bottom of the cans (for drainage) and on opposite sides of the top edge.

I did leave some of the white chippy paint on the edges and in the cracks, and rubbed a dark wax over the rest.

Using a paint roller, add an even coat of primer, leaving a two - inch unpainted border around the edges.

After the crew left we had a few things to finish off; some touch - up painting around the door and trim, adding dirt and grass seed around the edge of the patio and decorating with furniture both new and old.

Pour the paint in the paint tray and then use what's left in the can to work on the edges - there is still quite a bit of paint in the can clinging to the bottom and sides

Did you use a finishing trim to conceal the edges of the boards, or just sand them a bit, paint, and leave them exposed?