Sentences with phrase «light layer of paint»

Apply a very light layer of paint over the stencil design with the foam pouncer.

Not exact matches

Essentially, the thin layer of metallic paint provides a consistent surface for light to reflect from.

The first coat of paint was a light layer, and I allowed it to dry before working on the second coat.

The exterior comes with three layers of paint that gradually change color depending on its exposure to light.

The game is layered with the use of dark versus light, steeped in deep and twisted storytelling, and engulfed in stylistic violence that is visualized through a hand - painted graphic noir technique that stays true to its comic book origins.

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

In the 1992 «MLR (More Light Research)» series, Genzken built up layers using stencils and multiple applications of metallic paint sprayed through screens to create shimmering images, including one of the Hancock Building X, another of a grid of lightbulbs and several featuring a pair of gymnastic rings.

Over the course of a thirty - year career Doug Argue's paintings are best described as palimpsests — layers of radiant brushwork and scrims of crisp stenciled letters envelope the entire canvas to suggest the passage of time, light, motion, and how the past informs the present.

The surfaces of these works are hyper - refined in some passages, offset by several visibly distinct layers of paint, and Reynolds manages to capture the awe - inspiring mountain sky and light with exceptional accuracy, nodding to the Light and Space artists» interest in tempered atmosplight with exceptional accuracy, nodding to the Light and Space artists» interest in tempered atmospLight and Space artists» interest in tempered atmosphere.

He used dense layering of paint, pigment, and form to create complex light infused compositions, a hallmark of his work that remained constant throughout his career.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

Words in Hanson's paintings glint across unfurling banners and pass through layers of interlocking spaces characterized by dramatic shifts from light to dark.

Her works in oil are as evocative as those in acrylic / ink / enamel spray paint and the juxtaposition of light washes and heavily layered paint reinforces contrast in many of her works.

Alex Israel's Sky Backdrop (2016) depicts Los Angeles's wide skies in scenographic terms, while Mary Weatherford, showing her first large - scale painting since joining Gagosian, captures the shifting atmosphere of the Pacific coast, evoking the sky and sea in painted layers and glowing, neon light.

The metallic surfaces of the large paintings, in part mimetically related to the play of light on the ocean at midday, join such innovations as the use of spray paint to create atmospheric layers of transparent color over color and the use of mylar and networks of tape to form geometric figures.

«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.

His paintings, stemming from this dual interest in the forces of nature and abstraction, have strong gestural and textural qualities, intricate layering (with the strongest elements of each layer coming through into the final work), and an evocative sense of color and light that aim to distill something essential from the natural world.

Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto.

The artist's approach, according to his galleries, «involves layering subtly modulated acrylic paint across canvases, repeated polishing with sanders, and veneers of reflective resin which allow light to penetrate the stratum of the picture and reflect back with exceptional illumination.»

Rather, the space is lit by diffused natural light, which intensifies the intimacy of looking at Martin's painting: the subtle variations of the pencil lines, the thin washes and layers of paint that seem to sit on the surfaces of stretched canvas.

Through intuitive layering of castoff furniture, oil and acrylic paint, and collaged elements including CDs, water bottles, iridescent LED lights, car parts, and plastic bags, Fowler meticulously constructs hybrid tableaux infused with a sense of raw urgency.

He uses a wide range of brushwork and surface treatments to draw attention to the varied textures of the canvas - often applying distemper (a tempera paint made with dry pigments in animal glue) in thin brushy layers - to capture qualities of light and the changing effects of the atmosphere.

SILENCE is a title well - suited to this series of paintings, as sound is visually muted by the artist's technique of painting subtle shifts of light with glazed layers of monochromatic colors with a focus on dark and dramatic nighttime seascapes.

«Mattera's encaustic paintings involve pouring layers of pigmented wax one over the next, building up and scraping away to create pieces of brilliant color that catch the light in surprising ways.

While his paintings involve complex layering and the deliberately distorted treatment of light — suggesting three - dimensional space — the subjects are flat.

Gerard Mosse evokes light in painting and watercolors, in layered compositions intended to suggest the registration of personal experience and identity.

Her paintings are often still lifes, concentrating on multiple glass objects, in a style that is dense and layered, capturing complicated reflections and points of light in works the Lynden exhibition calls «crystalline labyrinths.»

With a finely attuned parity of aesthetics and practicality: projectors are placed atop unfussy supports, conventional plastic storage containers, boxes, directly on the floor or other fundamental solutions, in order to angle the throw of light onto layers of objects or cardboard paintings.

Painting, cutting, layering, and folding strips of Mylar, he manipulates the translucency of this plastic film to create an ephemeral experience for the viewer that changes with light and movement.

It's his calculated paint application technique that makes the work so distinctive, minimizing the fine layering while achieving enviable sense of depth and light effect.

The process of revealing images, concerns a rigid, obsessive practice as the painter applies layer upon layer of paint at the same time of day, capturing a specific quality which reflects the ongoing progression of nature: the seasons, the weather and the amount of light available.

These geographical locations and their rich history of painting can be felt in Goethals work: the glazed layers of early devotional Flemish painting, the light and glowing colors of the desert landscape in the Southwest and the influence of American artists such as Clifford Still, Richard Serra and Brice Marden.

But Doig wanted to make «homely paintings» — of houses and train stations, fallow fields and frozen ponds, explorations of weather and light that used thickly layered surfaces, complex reflections, and the imperfections of his source materials.

At the Whitney he brings together his own works, alongside historical photographs, sculptures, paintings, drawings, film and video from the Whitney's holdings and those of other public and private collections — all presented within a layered exhibition design by Mauss that allows for the works to be seen in a new light.

In paintings such as Iarnród No. 3, Reveles begins with an underpainting of lighter grey horizontal bands, which he overlays with layers of darker colors and gestural mark making, creating a sense of depth and space within the composition.

Through intuitive layering of castoff furniture, oil and acrylic paint, and collaged elements including CDs, water bottles, iridescent LED lights, car parts,... Read More

Even though artists use the «white painting» for different objectives, the play of light and shadow, using the canvas to inspire a unique meditational experience absent of all outside references, and the inevitable comparison with notions of the «white - cube» gallery all play into the layers of meaning hidden under all that white paint.

The various layers create a sense of depth and allows for a certain play with light unavailable in other painting techniques.

Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device.

Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well - lit field of modern paradigms: by referencing the monochrome as he did in his previous «joke» paintings, by reintroducing collage and silk - screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

I worked a lot the last year to develop my technique, i spent hours to find the way to be more realistic in my drawings and paintings; i worked on plans and layers, i tried to evolve myself to create a sort of artificial but realistic depth, a game of shadows and lights, a sort of window on a parallel world»

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.

One painting, owned by the Tate, is shown alongside close - up photographs of details seen under ultraviolet light, revealing the complex layerings and reworkings the artist subjected his work to.

Suspended between painting and sculpture, Spalletti's works are known for their focus on light and space, chromatic backgrounds, use of essential geometric forms and laborious layering of plaster and pigments.

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.

In her painting Vicolo 52, she carves through these layers giving a hint of her process in a painting that is bright with flickering lights.

The chief characteristics of work from that decade, with its echoes of Hans Hofmann, are densely layered surfaces and the arbitrary petals of paint so evocatively described by Mel Gooding in his book: «They flicker and flash with the chromatic brilliancy of birds, fish or insects against the broken light of impasto and coagulation, or like volcanic debris falling through burned air, or like bright figures of water, air and fire against elemental grounds of pigmented earth.»

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

Neill's most recent paintings have a heightened engagement with color, adding a new quality of light and atmosphere to their layered complexity.

The paintings I most admired were done by artists from northern Europe: Scandinavia ---- Denmark, Norway, Sweden ---- Flanders, and Germany... The work seemed very close to American Luminist painting in its clarity of light and form, its classic layering of space, and its modest size.»