Sentences with phrase «make layered paintings»

Today I am excited to bring you a fun tutorial using the awesome Tulip for Your Home paints, stencils & pillow cover to show you how to make a layered paint & stencil design.

Not exact matches

Cakes: More and more couples are opting out of the traditional wedding cake and going for looks that are more unique — like floral patterns hand painted on different tiers or nixing the sweet and going for something more savory with a «cheese» cake, made up of various layers of cheese wheels.

Old buttondown shirts make great smocks when worn backward with the sleeves cut off, plastic sheeting under the modeling clay construction site can protect the rug, and large sheets of butcher paper over the crafts table can prevent an encrusted layer of multicolored paints or glue.

In solution form, their solar absorber layer — the part made from the copper indium diselenide or CIGS materials and critical to the performance of the cell — can be easily painted or coated onto a surface.

If they made any paintings on the cave walls 100,000 years ago, calcium carbonate deposits would have obscured them, so the team plans to beam X-rays through the layers to see if our ancestors left traces of loftier artistic ambitions.

Once dry, go over the first layer of paint one more time to make the paint less transparent.

, a layered process, and allowed for «negative» space (the white between the diamonds), making for a sophisticated piece, rather than simply throwing paint onto the canvas and calling it «abstract» (which to me means, «I couldn't be bothered»).

So I finally made the move into my new house (after hours and hours and layers and layers of painting and priming) and I feel like my normal routine has been out of whack..

I want to try this method, I've been making my own chalk paint, and painted my china cabinet, and used the Minwax dark wax to antique it, it's not for everyone, but the look is just what I want, old world look, not even put it has character, I am doing my coffee table as well, I find very ornate pieces cheap and paint a base cream chalk paint and then go over it with the Minwax dark, let it sit for 15 min and buff, then add another layer of wax, its so much fun, but the problem I'm having is I'm ADD and I have 5 projects going at once!

Step 2: To tie into the beach theme, I found these painted dishes that felt as whimsical as the tabletop I wanted to create, and they make for a perfect first layer because the pattern along the edging lends some new colors to the table!

Of course, those three layers of paint made it harder to get the distressed look when it came time to use the sandpaper.

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.

Usually I mix it rather «thin» but recently mixed it thick because I did want a paint mixture that made it possible to actually build up layers of paint for an old European look on a chandelier.

Buying used means you'll likely be cursed with many of the disco, over-the-top options offered, such as the $ 18,469 triple - layer paint, $ 7,706 diamond forged wheels, hey - look - at - me - I - want - to - make - sure - you - know - I - own - a-Ferrari $ 1,623 Scuderia fender shields, $ 1,445 yellow brake calipers, $ 1,284 yellow seat belts, a $ 2,730 suit holder, and the $ 7,225 Ferrari golf bag straight out of «Caddyshack.»

On request, Mercedes paints dark colors by hand with a second layer of clear lacquer to make them look deeper and more brilliant.

• The steel front - of - dash panel is sandwiched between two damping mats • Nylon baffles are used in various hollow portions of the body structure and filled with sound - absorbing foam that expands when the body enters the paint oven • The headliner comprises five layers of thermal fiber acoustic material, including a premium woven fabric on the visible outer layer • Patches of sound - damping material are applied strategically throughout the body structure and melt into place when the body passes through the paint oven, allowing the patches to follow the contours of the sheet metal below • Sound insulation material between rear - body structural components that is made from recycled denim • Triple - sealed doors that feature fiberglass «blankets» serve as water, airflow and noise barriers.

Painted in a new three - layer metallic red, the SP38 also features a full Tailor Made cabin, but Ferrari is keeping it hidden for now.

We've got a really good base for our painting now, so we can start to build up some of the layers of colour that will make this picture luscious and vibrant.

Through overprinting (sometimes thirty or more layers) she was able to emulate the fluid, process oriented mark - making also found in her poured painting.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

Using this method it is important not to disturb the layer of paint beneath, so either wait for it to dry, or make sure the amount of paint is minimised.

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.»

This deliberate, dense layering of paint makes it hard for the viewer to tell what is figure and what is ground, and the constant, jockeying interplay between the two gives Ms. Passlof's work much of its dynamism.

The first thing that strikes you when looking at a John Copeland painting is the gloriously thick layers of paint that makes up the image.

Kahn has often referred to his painting technique as scrubbing: he makes dry, quick lines, atop thinly layered veils of color, essentially transferring his touch with pastel to paint.

Hi Sharon, I think you're really right about Katherine's work on a certain level especially from the perspective of the exploration of mark making and layering of paint, which is I think so special in your work.

He said, «I don't understand» — because what I was doing was I would make a painting and then I would let it dry and then paint over the whole thing; I wouldn't sand it down, therefore you would see all of these passages and the layers of gesso over oil paint, which, God knows what would happen now.

Upon exploring the stained surfaces of Krone's Screen Paintings, one is made aware of the causality occurring between the artist's systematic layering process and its entirely arbitrary result.

Her paintings are built up through layers of acrylic paint on canvas, overlaid with mark - making using pencil, pen, ink and thick streams of paint.

Later, many of his paintings would be on plastic — whether thick or thin, ridged or smooth — which contributed to the eerie clarity of their layering and made them seem two - sided, even when hanging on the wall.

Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies.

He managed to invent pop art, conceptual art and minimalism all in one go when he started to make an American flag out of waxy paint layered over newspaper collage in 1954 and has been meditating with the same serious irony about objects and their meanings ever since.

Sakaizawa's iterative process makes similar use of the canvas, as layers of paint, applied in dozens of identical gestures, build out beyond a two - dimensional surface.

After making paintings on canvas for many years, Livingston began pouring paint, layering it, then cutting it and breaking it apart in order to construct objects that are images of their own making.

He uses digital tools in recording, arranging, and considering his work however it is in the mind made world — the proprioceptive experience of smearing, spreading, layering and scraping of paint that he finds himself.

In painting and print, she layers architectural plans, maps and other schemata to invoke the histories of cities and civilizations, while heightening our awareness of how we make sense of the world.

She infused her art with these experiences through a labor intensive process — applying many layers of paint by hand to each piece and sanding the surfaces to a fine finish — and the bands of rich color that cover her sculptures, liberated from the traditional two - dimensional plane of painting, prompt viewers to make their own associations with her work.

Her paintings are composed of layers of acrylic on canvas and overlaid with marks made in pencil, pen or ink.

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.

The paintings are made of many layers of enamel lacquer paint carefully applied to laminated polystyrene and aluminum panels.

Whereas artists such as Donald Judd (1928 — 1994) and Carl Andre (b. 1935) enlisted industrial fabrication and materials to make their works, Truitt hand - painted her sculptures in multiple layers to create abstract compositions of subtle color in three dimensions.

In his recent exhibition, Standard Deviation, at the Green on Red Gallery (May 30 — July 6, 2013), the aluminum sheets that make up the surfaces of his paintings are covered with thin layers of translucent colors; puddles, slashes and spills; scraped, sanded and scarred areas; built up grooves and ellipses, none of which add up to an overall image or dissipate into randomness and chaos.

Indeed it is, from a brand - new series that the sculptor — who has made paintings of nets and peacock feathers in the past — creates by laying down rows of yarn on a red - painted canvas and then applying another, darker layer of red on top before removing the threads.

Analysis confirmed that the entire painting was not made in one night, as indicated by layers of wet paint on top of dry paint.

Although they appear to consist of scrunched - up pieces of silver foil, they are actually made up of numerous layers of paint.

The edition relates to a series of works by Zhao, titled A Painting of Thought, which layer thick acrylic paint on fabric in an attempt to de-construct rational logic and to make viewers wary of conceptual habits.

Despite their layered complexity, Walsh's paintings make no mystery of their process.

The latter is one of the most admirable examples of the way the artist combined hard - edged painting with her spray technique, layering veils of color on the suspended geometry that made Byzantium such gravity - free pleasure.

At a deeper level, FLOW and EBB is a metaphor for the fluctuating art - making process - the act of mark - making, adding and removing paint and other media over many layers, echoing the way the landscape has developed over time... a building up and a breaking down.

From the ground of the canvas to the final layer of paint I work at maintaining a life of stroke and color — to make a live painting.