Sentences with phrase «made on black paper»

These large paintings were made on black paper through the use of a technique similar to transfer lithography, producing delicately branching pink and white negative spaces.

Not exact matches

To make a black - and - white print he places the finished stencil on top of a sheet of strong handmade Japanese paper and places a fine silk screen over the stencil.

The paper is brown with age and there is black marker on it where my son made beautiful drawings when he was about two.

And if any videos of y ’ all making Taylor Swift sounding remixes to what Shannon did surface, I will file Cease & Desist papers on behalf of Black America.

I also made the star on the top of our tree by cutting it out of a pie tin (super sharp edges) and gluing it to a piece of black paper.

Use a star punch to make several cutouts on a circular piece of black construction paper, contact paper or vinyl.

Draw them on your cake with black decorator frosting, or make musical notes out of chocolate — melt chips in your microwave, pour into a plastic or pastry bag, cut off the tip and draw notes on a sheet of wax paper.

But what I am suggesting is that whether you're out and about today on «Black Friday» or cruising the Net on «Cyber Monday,» you can choose to make a difference with your purchases by patronizing those companies that help us to go green — either by saving energy, using organic farming methods, or insisting on recycled paper from well managed forests.

«To produce powerful jets, black holes must feed on the same material that the galaxy uses to make new stars,» said Michael McDonald, an astrophysicist at the Massachusetts Institute of Technology in Cambridge and coauthor on the paper.

Shan and I shot these photos at the prettiest hotel on Balboa Park and the florals outside and the stunning wall paper inside were so picturesque and made a beautiful setting for this pretty black and white look.

«Each unique part of the country would spark an idea for a different art lesson — anything from Native American weaving and designs, to chalk drawings of bright colored lights on black paper (an idea from Carlsbad Caverns), to sculpture made completely out of corn,» reports Wallace.

The pack includes: A long colourful display banner A display border with colourful Hermit crabs An A4 word card to use when writing about the story and sea creatures A title poster for display Word and picture cards of the different sea creatures in the story Word cards with words relating to the story on sea shells Sea creature flash cards Sea creature fact cards with simple facts about the sea creatures in the story Tracing pattern worksheets Match the label to the correct sea creature worksheet Colour photographs of different sea creatures and underwater scenes - great for discussion and displays Design a new house for Hermit crab worksheet Label the sea creatures worksheets A Hermit crab fact book to make and complete Fact posters about Hermit crabs with colour photographs Sequencing picture cards for the story Cut and paste sequence worksheet What happens next worksheets My favourite part of the story worksheet Comparing my house to Hermit crabs house worksheet - with different version for different abilities Cut and paste the months of the year with pictures of the corresponding sea creature Month cards for display with corresponding sea creatures Beginning, middle and end worksheet Count the different sea creatures on the shell worksheets An alphabet line on Hermit crabs A number line to 30 on different sea creatures A crab face mask to make - in colour and black and white Writing paper with themed borders Please note: The art work used in these resources has been produced by ourselves.

Students are blown away by what they've made and the resulting flakes can be displayed on black sugar paper or hung in the classroom (try darkening the room and using a torch to explore the shadows...).

Depending on time and resources, you might want to print the bookmarks in color or on colored paper, print them in black and white and let students color them, have students cut them out using pattern - making scissors, laminate them, or decorate them with a hole and string.

In each of these books (Kinō Nani excluded, as I have not read it, though I imagine it's similar) Yoshinaga lovingly draws dish after delectable dish of food across the pages, looking delicious enough to make your mouth water over a black and white sketch on paper.

Packed in a specially designed «book» box, the Collector's Edition of SOULCALIBUR V will include a high quality art book, original soundtrack CD, the making - of DVD, a DLC card for the Black Knight and Paladin armor sets, plus original artwork and letter on reproduction parchment paper signed by the team at Project Soul.

The new Blackout battle royale mode in Call of Duty: Black Ops 4 makes sense on paper, but does its inclusion coming at the expense of the campaign help or hurt CoD in the long run?

Today's show: «Something Else Entirely: Ray Johnson, Dick Higgins and the making of THE PAPER SNAKE» is currently on view at Black Mountain College Museum in Asheville, North Carolina until August 22.

The couple lived in a studio apartment on New York City's Upper West Side, where they made art, cyanotypes on blueprint paper, and a baby — Christopher, born in the summer of 1951, when Rauschenberg was at Black Mountain College.

1987 Black & White: Visual Sonatas, Aion Fine Art, Dallas, TX Recent Figurative Prints, Associated American Artists, New York, NY Succinctly Stated, Falkirk Cultural Center, San Rafael, CA Monotypes II, Allan Frumkin Gallery, New York, NY Avant Garde In The 80's, Los Angeles County Museum of Art, Los Angeles, CA Made in New York, NY, Gianfranco Zani Gallery, Turino, Italy Group Show, Michael Kohn Gallery, Los Angeles, CA On Paper, Curt Marcus Gallery, New York, NY Group Show, Sette Gallery, Scottsdale, AZ

Generally made with pen and ink on graph paper, Pope.L's Skin Set works from the late 1990s and into the 2010s offer sharp, sometimes witty critiques of the absurdity of racial stereotypes and references to skin color (i.e «Black People are the Window and the Breaking of the Window,» «Blue People Can not Conceive of Themselves,» «White People Are Angles on Fire»).

Queens Museum of Art IL LEE: Ballpoint Drawings A selection of drawings — striking indigo and black ink abstractions, all done exclusively in ballpoint pen, on paper and canvas — makes up this engrossing show by the veteran Korean artist Il Lee.

The following year, the pair made made Automobile Tire Print: a 22 - foot - long streak of black house paint on typewriter paper, laid down by the Model A's tyres.

The exhibition also includes the paintings Sand Morning (1973) and Arundel XI (1974), as well as a series of black and violet acrylic works on paper, two of which Truitt made in a rented room in Georgetown in 1962; an acrylic on paper made in her studio in Tokyo in 1966; two acrylics on paper completed on Tilden Street in 1968; several early drawings of streetscapes and buildings recalled from childhood; and a rare working drawing for the Gallery's sculpture Knight's Heritage.

Also featured in the exhibition are 30 works on paper made by Pollock during the same period as the black paintings.

C1S — Coated on one side (paper or print) C2S — Coated on two sides (paper or print) CA2M — Centro de Arte Dos de Mayo (Madrid) CAA — College Art Association CalArts — California Institute for the Arts CACT — Thessaloniki Center of Contemporary Art CAFA — China Central Academy of Fine Arts (Beijing) CAPC — Contemporary Art Museum (Bordeaux) C.G.A.C. — Centro Galego de Arte Contemporanea (Santiago de Compostela) CIFO — Cisneros Fontanals Art Foundation (Miami) CIMAN — International Committee for Museums and Collections of Modern Art CMYK — Cyan, magenta, yellow, and key (black), which are the primary printing colors CNAP — Centre National des Arts Plastiques (Paris) CoBrA — Copenhagen (Co), Brussels (Br), and Amsterdam (A), a free - spirited Marxist avant - garde movement lasting from 1948 to 1951 featuring the artists Asger Jorn, Christian Dotremont, and Constant, whose countries of origins make up the group's name CoCA — Centre of Contemporary Art Znaki Czasu (Torun) CPIF — Centre Photographique d'Ile - de-France CPLY — The name American artist William N. Copley went by as a painter CP — Cancellation proof (the proof made after an edition is finished as evidence that the artist has defaced the plate) C - Print — Chromogenic color print CR — Catalogue raisonné CTP — Computer to plate, digital printing process

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

While best known for her monumental black cut - paper silhouettes mounted on walls, Walker has been making short films since 2004, and three of these works were included in the survey of her work at the Hammer.

Alongside his sculptures, the artist has always developed a substantial body of work on paper, essentially black, made up of drawings and etchings.

The second of the two gallery spaces is given over almost exclusively to works made with black ink on plain paper.

Also included are paintings with graphic optical effects that Asawa made at Black Mountain College and works on paper of plant life that she drew from direct observation, without lifting her marker.

The work, made in 2012, features the artist's signature style: a face rendered in feathery marks, black and white, ballpoint pen on paper.

In Superficie Modulada (1956), made with graphite and gouache on paper, a series of intersecting lines creates a pattern whereby triangles in variegated shades of purple and pink jostle around a spine of black and white diamonds, like the design of a backgammon board.

On view for the first time will be the large - scale Black Painting; Horse, Bird, Cat (2016), from which the exhibition takes its title, as well as a group of works on paper that together underscore the artist's distinctive working process and intuitive approach to image - makinOn view for the first time will be the large - scale Black Painting; Horse, Bird, Cat (2016), from which the exhibition takes its title, as well as a group of works on paper that together underscore the artist's distinctive working process and intuitive approach to image - makinon paper that together underscore the artist's distinctive working process and intuitive approach to image - making.

These spiky constructions — which are like abstract root systems — were inspired by nature, as were the artworks Asawa made while a student at Black Mountain: small oil paintings on paper, a potato print, a work in ink on paper made with a BMC (Black Mountain College) laundry stamp.

Japanese bound and beautifully printed in deep, dark, black ink on several kinds of paper, this volume documents New York artist Banks Violette's recent solo exhibition at Galerie Thaddaeus Ropac in Salzburg, where he showed recent sculptures and site - specific installations made of metal, neon, varnish and glass.

Tauba Auerbach presents a range of works on paper, from a tiny black blotch made by overwriting all the punctuation marks on a typewriter — something the computer will not permit — to a gouache updating of Jasper Johns» «0 through 9» in the generic font of a digital display.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

On view at the Gallery's 32 East 57th Street location through October 26, 2013, Excursions en no man's space features 44 works on paper made late in the artist's career ranging from black and white to the primaries: red, yellow, and blue, and in form from figurative to abstracOn view at the Gallery's 32 East 57th Street location through October 26, 2013, Excursions en no man's space features 44 works on paper made late in the artist's career ranging from black and white to the primaries: red, yellow, and blue, and in form from figurative to abstracon paper made late in the artist's career ranging from black and white to the primaries: red, yellow, and blue, and in form from figurative to abstract.

Josef's Homage to the Square makes two appearances, once in a black, grey and aqua oil - on - masonite version from 1956, and once in the turquoise - centred Color Study for Mitered Square (Homage to the Square), while there are also two of Anni's intimate ink works on paper from c1980: Design (Black and Red) and Design (Black and Brblack, grey and aqua oil - on - masonite version from 1956, and once in the turquoise - centred Color Study for Mitered Square (Homage to the Square), while there are also two of Anni's intimate ink works on paper from c1980: Design (Black and Red) and Design (Black and BrBlack and Red) and Design (Black and BrBlack and Brown).

These works on paper, which include the Black Drawings (1991 - 92) and Models (1994), explore facial structure and emotional expression in ways that resonate with and make overtures towards these earlier paintings and the continuum of art history.

Emma Amos's wry work on paper mimics several tropes of fashion magazines, transferring the advice column model of self - improvement to her experience as a black woman trying to make it in the art world.

On the other side of the hall, the delicate cut - paper ink and graphite drawings of Jasmin Sian filled Anthony Meier Fine Arts's booth (priced at $ 10,000 — 22,000 each); the tiny, intricate brown - and - black compositions were made on deli bag papeOn the other side of the hall, the delicate cut - paper ink and graphite drawings of Jasmin Sian filled Anthony Meier Fine Arts's booth (priced at $ 10,000 — 22,000 each); the tiny, intricate brown - and - black compositions were made on deli bag papeon deli bag paper.

Joining these are many important works shown in the galleries for the first time including new works made specially for this exhibition, including a diaphanous cellophane window sculpture by Karla Black, a new text work from the series pretty much every world written, spoken, heard, overheard from 1989... by Douglas Gordon, a newspaper collage by Tony Swain, a sculptural work on paper by Andrew Kerr, Jim Lambie's colourful pop poster stack (free to take away) and Hayley Tompkins and Sue Tompkins painted chairs that can be found distributed throughout the galleries.

Inspired by the civil rights movement, Quentin Morris began making all - black paintings and works on paper in 1963 and has continued to do so ever since.

Ink drawings the artist created later in Albuquerque, New Mexico in the early 1950s make use of strong, assertive black lines on sand colored paper.

A triptych on white paper, cutting across separate frames, stages the classic abstract expressionist brushstroke - of which Roy Lichtenstein made satirical hay - as a black comet, trailing detritus as it arcs toward nowhere.

(lot of 5) Robert Motherwell (American, 1915 - 1991), London Series II: Untitled, 1971, (Blue / Pale Blue), 59/150, (Blue / Tan), 23/150, (Blue / White), proof, (Orange / Pink), 107/150, (Yellow / Black), 128/150, all screenprints on J.B. Green mould - made Double Elephant paper, each pencil signed lower right, overall (sheet / each): 28.25 «h x 41 «w. Provenace: Triton Museum of Art (Santa Clara, CA) Read more

The new works on paper in the exhibition were made by manually applying matte black inkjet printer ink directly onto the surfaces of matte inkjet paper using foam brushes.

The three - dimensional black spheres that make up this work are in some ways distant relatives of the pixels of that original, two - dimensional photograph, but instead of being transcribed into a flat image as micro dots of ink on paper, here they well up into great waves that crash against the very walls of their original subject matter.