Sentences with phrase «of small paint brush»

Slightly press the tiny balls onto the top of the head and then use the back of a small paint brush to create an indention for the inner ears.

Dip one of your small paint brushes in the nail polish remover and use it to dilute the polish drops.

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.

Sweet Turkey Dessert Centerpiece Supplies: 3 boxes of Little Debbie Fall Party Cakes (any flavors) 3 empty Little Debbie Fall Party Cake boxes 1 bag of standard size marshmallows Orange, red and yellow food coloring Clean, food safe paint brush Gold food coloring spray (optional available at craft store) 3 bags of dried beans or rice (act as weights for the empty boxes) Hot glue gun with glue sticks Small to medium size Styrofoam pumpkin (from a dollar store or craft store) Bamboo skewers Candy corn Fruit leather (4 serving rolls) Candy eyes Plastic pilgrim hat (optional from craft store)...

Whilst pregnant with my little boy, I made up a refreshing jug of Raspberry leaf Iced tea ✨ ☺️ ✨ was so yummy, however whilst making my way through the whole jug (5tea bags brewed) I was painting the inside of my coal shed (about the size of a small walk in closet) with Silcone based Masionary Paint... it was on my MUST Do Before Baby Arrives list... by the time Id washed my paint brush I had my Show... so this is something I will be trying again with this pregnancy ✨

With a very small brush, Tibbetts painted half the faces with a wasplike pattern of tiny black and yellow stripes.

Spread some more chocolate up the sides of each cup with a small paint brush.

To achieve Annie's signature look, apply a thin coat of wax over your painted surface with a small Chalk Paint ® Wax Brush.

Using a smaller detailed brush about a quarter of the way down the jar I painted two small black dots for eyes and a small rounded triangle for a nose.

I took my small brush and painted right to the edge of the groove mark.

The brow precise micro pencil is a marvel, it is super easy to use, you only have to make small rays to imitate those of your eyebrows and blur them with the brush that includes included, never paint your eyebrows was so easy, now with this product in question 1 minute you can have impact eyebrows.

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...

This can easily be fixed by using a small paint brush and white chalk paint to touch up the inside of each hole.

Once the painting is completely dry, you can go back and add details using the small round brush and a very dark wash (only add a small amount of water to make a really dark wash).

Worked on the edges with a small paint brush; then painted the molding around the middle of the walls the same antique white.

After paying a small studio fee for access to paints and brushes, you can pick from the vast variety of pottery pieces and let your imagination run wild on them.

Armed with 8 - inch blank carvings, a few inks (red, yellow, black and blue) and one brush, none of us came close to achieving the sharp, clean lines boasted by even the smallest of the professionally painted dolls, which were about 3 inches tall.

Again, as you expand your studio you'll likely gain more of these icons that let you shift brushes around until you get to a point where this small element of management almost disappears entirely as you have enough symbols, brushes and movement icons to let you paint as much as you want.

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.

At this point I started to introduce contrast in tone, adding areas of more concentrated black paint with a smaller brush, to define the eyes and features I wanted to bring forward.

Much of this relates to Richter's exploration of the relationships between painting and photography, and only a very small proportion of the work features brush on canvas.

I went to the shop and realised that there were hundreds of brushes and so the painting would have been very big — in fact, it wouldn't have fitted in my studio — so then a pragmatic decision was to try to distil the number of brushes I was using to a smaller number.

I have taken stabs at making a decent small painting from time to time, but my natural inclination and disposition since I was a boy was to paint larger than life, to feel my brush strokes travel and explore the arc and extent of my reach.

Though fairly small and executed on paper, these loosely brushed tempera and oil paint - ings demonstrate an awareness of Abstract Expressionism while often asserting cruciform shapes in vivid reds, golds and purples.

When you're first starting to work with acrylics, it's very easy to get tempted to work with the very small brushes and paint really sharp lines and your painting can very easily lose that sense of atmosphere.

At about five feet square, «Depend on the morning sun» is among the smaller paintings in the show, but it contains one of the broadest gradients — two horizontal - ish swipes of a brush outfitted with crimson, titanate yellow, Prussian blue and orange - pink, about a foot wide — slapped onto the upper right corner like a warning sign.

To those who know his work today, it may come as a surprise to learn that his early work, resulting from the more introverted approach, consisted mainly of very small paintings done in egg tempera and entirely with brushes, somewhat in the manner of Vermeer, whom he still greatly admires.

This painting is spectacular, it's small but really dynamite work, you can see the thick brush work, it has quite a bit of collage elements, you can see there is a New York Times newspaper here.

These works, although painted with small brushes using ink and gouache, mirror the aesthetic of etchings and serve as a sort of re-written history.

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.

The paintings are, of course, extremely small, and they are expressive with regards to brush strokes and the blending of paint.

As a group of women drank tea in front of a large gallery wall filled with small - scale paintings, I wanted to drop my camera then and there to pick up a paint brush and give my artistry one willful chance.

«Each painting captures a small action, as few as two strokes of the brush, and blows them up to a macro scale.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

In my mind's eye I see Ad eternally creating his «last painting,» workmanlike, in a methodical dance around a supine canvas, balancing the quickly drying paint in each corner, seeking an even, flat surface with no trace of his sure hand or the small brush he was brave enough to rely on.

Each has its own physical density; all are clamped in place by the concentrated buildup of paint, laid on in small, jabbing brush strokes.

By the mid -»70s, he'd begun painting on aluminum, but instead of using smooth industrial enamel he chose gloppy acrylic applied with small brushes.

Seeing the brush strokes and forms on the small paintings gives the viewer a peek into the transformation of Katz's ideas from preparatory work to finished paintings and prints.

But the swiftly moving art world, latching on to the latest, often - superficial thing, had little time for this contemplative artist who considered every brush stroke, whose works were small, who favored landscape painting and studio still lifes, and whose portraits were homely but sensitive studies of people he knew, rather than celebrities.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

Recent Honors include: Bold Brush Award, March 2018 in the Bold Brush Competition Artists» Choice Award, 2017 Ireland's Art in the Open International Festival Second Place, 2017 Plein Air Easton Small Painting Competition Juror's Award, 2017 and 2016 Wayne Plein Air Festival Award of Distinction, American Impressionists» Society 2014 National Show Silver Prize, 2014 Ireland's Art in the Open Gold Prize, 2013 Ireland's Art in the Open Grand Prize, 2013 American Women Online Juried Competition Best in Show, 2011 and 2008 Wayne Plein Air Competition Second Place, 2011 Plein Air Easton Artists» Choice Award, 2010 Plein Air Easton

The paintings are woven from small obsessive brush - marks, reminiscent of the caked edges of a painter's pallet; where colours build - up by random application layer upon layer.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

Smith's paintings are made freehand with a variety of small sable brushes without the use of tape to mask the edges of the areas of color.

Small touches like two - tone custom paint and brushed nickel lighting fixtures add to the comfort and feeling of luxury in your home.

These talks represent small brush strokes in our everyday conversations that will paint death as part of the picture.

We used cabinet enamel to paint the cabinets with a combination of small roller and brush, and sealed it with a poly.

I used almost a whole quart of latex paint on a small brush type outdoor rug.

Then, using a small paint brush, fill in the number with the color of your choice.