Sentences with phrase «of my paint brush into»

Simply dipping the very tip of my paint brush into water first and then into my mixture before painting a few strokes.

Not exact matches

Somehow, using a small paint brush to spread the melted chocolate into the molds reminds us of painting in kindergarten, where there were no mistakes.

I set out a selection of colours that could be mixed into rock sort of colours, so browns, black, white and different greens, and then provided 1 paint brush.

Using a Chalk Paint ® Brush she applied the paint in all directions, pushing it into the grain of the wood.

The final look is gorgeous with the light and dark wax getting into the crevices and brush strokes of the paint!

I am actually a messy paint and because this was such a large piece I used my foam brush and dipped right into samples and at times poured it right on, sparingly of course.

Dry brushing — To dry brush dip your brush into the paint and then wipe off the paint on the side of the can.

STEP 2: Dip your paint brush into some mod podge or glue and paint the bottom fourth of each tag.

Or sometimes I do it the lazy way and have a small cup of water next to my paint can, dip the tip of my brush into water then into the paint.

After the base and trim were painted I used a small brush to dab darker color into the crevices of the chairs...

I wanted the letters to be «glittery» so I dipped my paint brush into white glitter for the second coat of paint that I put on the letters.

Dip JUST THE TIPS of the stencil brush into the paint and offload the excess paint by swirling onto good quality paper towels.

«Dry Brushing» is a technique where you dip into a second paint color and then off - loading most of the paint on your brush and then just hitting the high points.

I love the look of this mirror and that brushed metal paint will be making it into my craft stash: — RRB - Thanks for sharing this on the Merry Monday party.

To be honest, my girlfriend and I came into there location after having a long day of painting our home... needless to say we looked rough and neither Jimmy nor Barry brushed us off due to our painters appearance.

With paint, brushes, and artistic spirit, a muralist transforms Mira's gray neighborhood into a place of color, joy, and unity.

Of course Nintendo also has a habit of turning paint brushes into lethal ink - based weaponOf course Nintendo also has a habit of turning paint brushes into lethal ink - based weaponof turning paint brushes into lethal ink - based weapons.

Each level in Crash Bandicoot: N.Sane Trilogy is both untouched and touched, with every area of a level left intact, but with a High Definition paint brush, splashing fresh, dynamic life into every corner of the screen.

I also use the front and the back of the brush — I paint the paintings with the front and then I make marks into them in the back, which I refer to as cross-hatching.

You can see around this apple that I started fairly pale and for the darker patches to the left I was using the technique the encountered at the beginning of working undiluted paint into the surface with a turps soaked brush.

Our brushes are divided up into different mediums, because each type of paint requires a different kind of brush.

For this you will need the stiffest scratchiest brush you can, because we will be rubbing small amounts of paint into the surface quite roughly.

I use both brushes interchangeably at this stage as I paint into the detail of the leaves with the number 4 and paint the large washes with the number 12.

Ambiguous features can morph from immense beauty into utter despair, with hints of the eyes breaking the surface beneath layers of paint, charcoal, turpentine, expressive brush strokes and often physical DNA from the artists» fingertips.

Once the reflections have been applied, tapping the chisel edge of the brush horizontally into the wet paint «lifts it off and creates a nice subtle effect of ripples:

Untitled III offers an encounter with one of the great masters of twentieth - century art, a window into his relationship with nature, with the land and sea as he transcribed it simply by brushing wet paint into wet paint.

A paint - smeared Adam and Eve titled «He» and «She»; a sensitive portrait bust of Ms. Saul's husband, the painter Peter Saul, with tender blue eyes and a stand of asparagus - like brushes jammed into his crown; and several other ceramic people all seem intended to highlight every squalid embarrassment of the flesh.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

The variety with which paint is brushed, scraped, layered, piled up and dug into fills these works with markedly distinct passages of paint - handling, in the old - fashioned sense, even while they seem to push paint to new physical limits.

They soaked pigment directly into the canvas, which enabled them to move beyond the thickly painted and dramatically brushed work of the previous generation.

Matisse and his crazy confreres, Derain and Vlaminck, have kicked painting into the 20th century with a display of intensely colored, haphazardly brushed, all - but - incoherent paintings made over the summer in the Mediterranean fishing village of Collioure.

Similarly, one of Philip Guston's mid-1960s brush - heavy paintings (or even one of the 1970s figurative paintings, with their flurries of dirty, wet - into - wet brushstrokes) would have been preferable to the Cy Twombly on view, especially since Reed encountered Guston at the Studio School.

«You're in your teens and you stand in front of a blue monochrome and someone tells you that this man in 1961 transforms the body of a woman into a living brush and uses that body to paint these incredible works,» recalls Lévy.

I love Willem de Kooning's «Women» paintings for their formal qualities; the fields of slashing brush strokes and garish colours somehow corralled into dynamic compositions.

Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.

Although her work results from deep observations of the history of painting — from Velasquez, Rembrandt, Caravaggio and Cezanne among others — her personal vision transcends classical notions of genre and narrative as she invites viewers into a delicious domain of confident brush strokes with a new aesthetic.

Ms. de Kooning, a painter and writer (more often cited as the wife of Willem de Kooning), describes how Vicente «backed into collage one Sunday in Berkeley, Calif., in 1950, because he wanted to work and his paints and brushes had not yet arrived.»

The works in the 2013 exhibition revealed Frankenthaler's invention of the technique of pouring and brushing turpentine - thinned paint so that it soaked into raw canvas.

His facility with the brush was honed in an earlier series focusing on Balthus's studio, which translated the evidence of the artist's activity on the floor and walls into marks and splatters on the surface of the painting.

His enquiries into the fundamentals of painting: the importance of the brush stroke and compositional structure are viewed retrospectively as his most important contribution to the movement.

In some of these large paintings, cultivated fields turn into writing, diagonal rows of text that also resemble brush, growth, scruffy fields.

The life of what one drops the brush into counts for more than the size of what one paints on.

From 1947 to 1951, Pollock's brush seldom touched his paintings, but physicality abounds in his work through the dexterity of movement from wrist to arm to body, and Pollock painted with a sure confidence in the fluidity of the paint orchestrating its quantity, density, speed and rhythm into a completely cohesive unity of composition and expression.

«Color: Stained, Brushed and Poured» brings together several artists whose enquiries into color theory and paint application revolutionized the course of abstraction in America.

Andre has described Stella's method as «neutralizing gesture» by using uniform, identical and repetitive brush strokes thereby transforming the ground of the canvas into «a field of the painting.»

As art historian Martica Sawin noted of Pace's art of this time, «The brush dragged across rough underpainting, the strategic drip, the brusque cancellation of any suggestion of latent image or defined shape, the look of struggle built into the layers of paint, the breaking apart of anything that might hint at order — these are all hallmarks of the work of the younger Abstract Expressionists.»

Painting allows the artist to plunge into the labyrinth of memory while the imagery submitted to his brush recaptures both excruciating presences and silences.

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.

The paint — usually enamel, which he finds more pliable — is applied by dipping a small house brush or stick or trowel into the can and then, by rapid movements of the wrist, arm and body, quickly allowing it to fall in weaving rhythms over the surface.

A single sketch would take him approximately two hours (as we are informed by notes on the back of one of the works), and would be made on paper pinned into the lid of his painting box — also on show in the gallery — which contained bladders of pigments, brushes, rags, a palette knife and a variety of strengthened laminated papers, prepared with a range of coloured backgrounds.»