Sentences with phrase «of graphite chalk»

Using a can of Graphite chalk paint I had left over from my painted tile project, I quickly began dry brushing the paint all over the chandelier.

I sanded to smooth out the brushstrokes and then added two coats of Graphite Chalk Paint ®.

Not exact matches

So instead of opening my favorite chalk paint can, Graphite, I paused and grabbed a can of taupe gray called French Linen, by Annie Sloan.

I painted the MDF with three coats of Annie Sloan Chalk Paint (TM) in Graphite and let it dry overnight.

We opted for Annie Sloan Chalk Paint in Graphite (a soft black / grey) and then two coats of French Linen (a wonderful mushroom color).

The monochrome colour palette (made up of Graphite and Old White Chalk Paint ®) keeps the whole piece from looking overcomplicated.

One of my favorite makeovers using Chalk Paint ® decorative paint by Annie Sloan is my Dressing Table, done using Graphite and Pure White.

I used a combination of ASCP (I had some Paris Gray and some Graphite) and homemade chalk paint, using SW Aesthetic White (leftover from our master bedroom), SW Kaffee (a sample I had considered for my office), Behr Cathedral and Behr Gray Morning (from my wax - resist side tables), and SW Dovetail (which I used on the toy armoire and my master bedroom window trim, among other things).

Once that was done, I gave the chair a few coats of chalk paint in Graphite and sealed it in clear and black wax.

Cressida painted the lamp and shade using Chalk Paint ® in Lem Lem ™, and added illustrative dots and lines using a palette of Aubusson Blue, Florence, Graphite and Old White.

Two coats of Aubusson Blue Chalk Paint ®, (followed with a) Graphite wash, Annie Sloan's clear wax, and then black wax around the raised areas.

Pierre — Paul Prud» hon, Psyche Carried Off by the Zephyrs, 1808 or later, black and white chalk over graphite on faded blue wove paper, with framing lines in black chalk, 17 1/2 x 12 in., Minneapolis Institute of Art

Otto Mueller, Two Bathers, 1923, graphite, watercolor, and two colors of blue chalk, 26 1/2 x 19 3/4 in., Minneapolis Institute of Art

William - Adolphe Bouguereau, Study of Venus for «Apollo and the Muses in Olympus» (ca. 1867), graphite with touches of white chalk on beige wove paper, 46.8 x 30.5 cm.

Study for Greek Alphabet Series # 2 is a symphony of visual noise with the artist abrading and scratching into the layered surface of graphite applied over a chalk ground.

From portraits, figure studies, and landscapes to mythological and biblical narratives, the drawings represent a dynamic array of sacred and secular subjects in media ranging from metalpoint, pen and ink, and chalk to graphite, pastel, and charcoal.

Graphite pencil with touches of white chalk on paper, 197/8 x 251/2 in.

Although she has worked in diverse media, her current use of industrial materials, including cement, construction chalk, spray paint, and graphite, reflects her New York surroundings.

• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds, black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe, black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»

The selection of works in this exhibition range from painting on canvas to mixed media paintings that combine paper collage, paint, ink, chalk and graphite on canvas supports to unique acrylic paintings combined with ink on paper.

© Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art [fig. 11][fig. 11] Edward Hopper, study for Ground Swell, 1939, fabricated chalk, charcoal, and graphite pencil on paper, Whitney Museum of American Art, New York, Josephine N. Hopper Bequest 70.861 a. © Heirs of Josephine N. Hopper, licensed by the Whitney Museum of American Art [fig. 12][fig. 12] Edward Hopper, study for Ground Swell, 1939, fabricated chalk, charcoal, and graphite pencil on paper, Whitney Museum of American Art, New York, Josephine N. Hopper Bequest 70.862.

The accuracy and specificity of Hopper's sky indicate, if nothing else, that it is one the artist had seen, rather than one born of imagination or synthesis [fig. 8][fig. 8] Edward Hopper, study for Ground Swell, 1939, fabricated chalk, charcoal, and graphite pencil on paper, Whitney Museum of American Art, New York, Josephine N. Hopper Bequest 70.339.

Kalley Fosso's work focuses on her process of creating abstract compositions; she is highly influenced by nature - both its physical traits and its historical aspects - and materiality - including acrylic paint, watercolor, charcoal, charcoal powder, oil based pastel, chalk pastel, graphite, spray paint, and so on.

Painter in Residence Janice Issitt created this bold Art Deco look using a Chalk Paint ® palette of Graphite and Florence, picking out details in Gold Leaf.

Printed in colors to exactly match Graphite and Old White, Annie Sloan painted this design in Chalk Paint ® drawing inspiration from the lino prints of designers and artists from the 1930s.

Following the popularity of this design in Chalk White and Graphite Blue — this years hot colour is Charcoal Grey.

Chalk Paint ® decorative paints by Annie Sloan are beautiful and I personally, love the color of Graphite.

Two coats of Aubusson Blue Chalk Paint ®, (followed with a) Graphite wash, Annie Sloan's clear wax, and then black wax around the raised areas.

Graphite Chalk Paint ® is on the body of the desk and the interior sports a mix of Emperor's Silk and Barcelona Orange.

We bought a 2 × 4 from Lowes and I painted it with Annie Sloans Graphite chalk paint so that it would look like a part of the map.

Printed in colours to exactly match Graphite and Old White, Annie Sloan painted this design in Chalk Paint ® drawing inspiration from the lino prints of designers and artists from the 1930s.

Well I finally decided that just wasn't going to cut it so I broke out the chalk, my printer and a bit of graphite for a bit of fun chalkboard art.