Sentences with phrase «move while you paint»

I taped down the stencil just so I wouldn't move while I paint.

Using the painter's tape, secure the stencil firmly to the shorts, ensuring it doesn't move while you paint.

Not exact matches

, moving mulch, building slides and climbing apparatus, painting, sanding, and more — all while singing and dancing.

This Davis painting of a cylinder colony shows an unusual event: «Every once in a while, the Sun will move behind the Earth, causing an eclipse [from the colony's perspective].

I also pinned it down so the fabric wouldn't move while I was painting.

Last weekend while we were away Sara moved into her new room and we had both her room and the baby's room painted.

There's also a whole lot of nothing involving Charlie's wife Johanna (Gwyneth Paltrow), a British inspector (Ewan McGregor) who's had a crush on Johanna for more than two decades (somebody should tell him to move on while he still can) and a slew of others who want the rare painting for themselves.

I had him move his fingers up and down black dots painted on a wooden stick while a real flautist played his instrument from off - camera.

While there are many things he does throughout he move that paints Oscar as, deep down, a good person to those he cares about, especially to his young daughter, Tatiana, he's also somewhat selfish too.

Then they moved to tables, where some of them painted paper octopuses, while others gingerly smelled, touched, and then dangled little octopuses from a local fish market.

Also available for the first time are the lightweight 10 - spoke forged alloys and Liquid Black painted brake calipers, while inside the display for the optional reversing camera has been moved from the IRIS display in the centre console to the TFT instrument cluster ahead of the driver.

The brake cooling ducts were moved inboard of the driving lamps and changed to a straked design, while the rear ducts featured the vertical painted design seen on the SE30.

Good moaning Beach Cottage friends, foes, anyone who would care to listen really... today I am here to show you a cottage in chaos... well not really, one does tend to be on the dramatic side, but, right now my lovely husband, aka Mr Beach Cottage and I are camping out in the study while I paint our bedroom floor white... this has not been met with the most favourable of comments but after lots of quotes from tradies, upwards of $ 15,000, talk of us moving out of the house for a week while our floors are painted, other speak of loading all of our furniture (of which I am not short) into one half of the house and other various scenarios, I decided to go the DIY route and start on our bedroom and see what happened.

In this award - winning puzzle adventure go on a journey to find your missing mother by altering the world by changing its background color while exploring a dangerous grey land, unearthing painted fragments as you move along.

Players will also get a speed boost while moving through those paint trails.

While painting her «Bridges of Portsmouth» series, Mullaney woke up early to enjoy the morning light and observe the work crews moving cranes across the skyline.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

Indulging his lifetime love of science fiction and fantasy, he's currently illustrating a new historical role - playing game for Iron Throne Publishing and developing life - sized promotional cutouts of zombies for WorldWorks Games while also putting the finishing touches on 30 oil paintings for a summer exhibition — all proof of his incredible comfort moving between the worlds of commercial and fine art.

While Held moves illusionism inward, Marcaccio builds outward with literal collage, encrustations, and paint, occasionally trapping pockets of illusion.

While earlier, enamel works focused on line and flatness, her move to oil paint in 2001 has resulted in a sculptural, almost three - dimensional style.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

Appropriately enough, Moyer had first become interested in the formal qualities of moving blankets — their off - kilter color combinations, the patterns of their stitching — while assisting the artist Mika Tajima, who at the time had taken to displaying paintings in the kind of wooden storage racks typically found in a gallery's back room.

While these highly complex and laborious constructions (she often called them «three - dimensional paintings») moved her well beyond the vocabulary of the improvisatory, so - called «action painting» usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

While I sometimes produce work that is representative, I am most moved to paint abstracted landscapes.

Physically moving around a black - on - black painting of a cubic grid will reveal layers of optical illusions, while simply blinking when standing in front of a canvas covered in a complex navy - and - white pattern tricks the eye into seeing an oscillating, three - dimensional piece of art.

Eric Mack's «Partition» — a wall of messily painted pegboards — divides the gallery space in two, while his sculpture with moving blankets and other media, «Finding Comfort in Easy Distinction,» slumps against the far wall like a dejected drunk.

Rauschenberg moved on to make his most perfectly abstract works since the white paintings more than 20 years before: the «Jammers,» bannerlike geometrical compositions — often supported by rattan poles — that used gorgeously dyed monochromatic silks and other fabrics he'd found while visiting India.

While collage is an integral part of both artists» work, they use it in different ways: Nelson controls the composition of her paintings by erecting physical boundaries on the canvas with gauze soaked in glue while Gueorguieva uses various means to push and move the colour as it gets absorbed by the raw caWhile collage is an integral part of both artists» work, they use it in different ways: Nelson controls the composition of her paintings by erecting physical boundaries on the canvas with gauze soaked in glue while Gueorguieva uses various means to push and move the colour as it gets absorbed by the raw cawhile Gueorguieva uses various means to push and move the colour as it gets absorbed by the raw canvas.

While Bearden's early work consisted of figural paintings inspired by the social realism that dominated the 1930s, a trip to Paris in 1950 inspired him to move closer to abstraction.

While the move is less radical than routine (by now we've all seen paintings brought in to function as artifacts, arranged in concert with other art or art - like objects), it effectively releases Louis» work from its unimaginative role as illustration for Clement Greenberg, opening the work for new meanings.

While there he was granted permission to enroll in two rigorous painting and photography courses, only to drop out and move into Manhattan a year later.

Calder's moving sculptures in geometric forms and energetic presence are on view at Pace Gallery in Chelsea, while vibrant and night sky - like paintings of Miró are installed at Acquavella Galleries in uptown.

The American Calder moved to Paris in 1926 and there met Miró while Miró was painting the colourful results of night - time hunger hallucinations.

Haring turned the event into an energy - fueled performance: while photographers and journalists looked on, he painted rapidly and rhythmically, moving over the canvas, hip - hop playing in the background.

While the Royal Academy's current abstract expressionism show reiterates that North American painting took the world by storm in an «age of anxiety», at the other end of the Strand, in a gutted carapace of a brutalist building, this blockbuster exhibits the creative versatility of moving image and sound in our post-Y2K age — a period not without anxieties of its own.

Japanese artist Yoshishige Furukawa's paintings shown on this page date from the 1960's to the mid-1970s, created while living in New York, where the artist moved to from Japan in 1963.

Japanese artist Yoshishige Furukawa's paintings shown in the Black Rubber Sheet exhibition date from 1972 to 1976, and are part of, or relate to, the artist's important and rare black - rubber - sheets series created while living in New York, where the artist moved to from Japan in 1963.

While the «death of painting» narrative feels horribly tired, the move to counter it is in danger of seeming just as weary.

After a while he took a can of black enamel (he usually starts with the color which is at hand at the time) and a stubby brush which he dipped into the paint and then began to move his arm rhythmically about, letting the paint fall in a variety of movements on the surface.

Nechvatal writes: «The exhibition's title, The Figure of the Fury, refers to Pollock in the act of painting as he moved around his canvases, while simultaneously alluding to the expression, «fury of the figure» by the 16th - century art theorist and painter Giovanni Paolo Lomazzo (1584).

While many of his early paintings were based on found photographs and film stills, Borremans has matured into a filmmaker who creates moving images that mimic paintings.

The artist duo freely moves from paintings, to murals, videos and installations while maintaining their systematic aesthetics of diagonal lines, geometric planes and a mostly black and white non-colour scheme.

In the early 1960s, he moved very quickly into making three - dimensional work, so while the first room in the exhibition is given over to paintings, the second shows his first wall reliefs and sculpture.

While his work in his native Philadelphia had more of a geometric quality, inspired by Piet Mondrian, his move to California in 1950 changed his style to more gestural, using thick impasto oil paint and swirling motifs common of the San Francisco scene.

A Spotty Collection Becomes More Conclusive — While Damien Hirst continues to work on various spot painting projects, including one work that contains 1 million dots, his publisher, Other Criteria, will release a catalogue raisonné of the almost 1,400 spot paintings that have been made to date, a move that is rumored to add value to the works as it removes any doubt about the authenticity of the easily forged paintings.

Features that once drew their meaning by seemingly not being his, now seem to be almost compulsive traits: we imagine Polke still obsessing over minute printing errors, over the aleatory stretched effects made by moving an image while it is being photocopied, over the bacterial and toxic - looking residues brought about by mixing resins and paints with foreign substances.

Moving back and forth between abstraction and figuration, he has depicted geometrical forms including dots, lines, triangles, square and ellipses, and rhythms of fresh and vivid colors on the pictorial plane, and has created unique, illusionistic worlds of painting wherein each motif influences and merges into each other while preserving a descriptive quality.

And yet while his peers eventually explore what they thought would be the end of painting with avant - garde performances and minimalist works that functioned between art and object, Boyd moved forward with an obsessive painting practice.

But the real message of what's on view seems to be that deeming painting or drawing alive, then dead, then resurrected, while it certainly helps art dealers move product, no longer bears a relation to a good deal of what's being made.