Sentences with phrase «other white paint colors»

Along with Simply White and Alabaster, other white paint colors forecasted to popular in the coming year include Behr Ivory Keys and Benjamin Moore Paper White.

Not exact matches

The other option would be to make white shells and use colored luster dust or paint them with powder colors dissolved in vodka (vodka evaporates quickly without making the shells too wet), but the effect wouldn't be as bold.

It fits perfectly in this space and the rustic wood and white painted letters work well with the other neutral colors in this room.

If you were using a paint color other then white and were going to sand to distress, though... you should not use Kilz or any white primer since you would see the white layer in between the wood and the paint color when you sand.

While we miss the Volvo stand's coffee, local Volvo dealers set up a display of models, all in white, just outside the Cobo Hall show floor, where Mitsubishi nearby flanked a Mirage sedan with an Outlander on one side and an Outlander Sport on the other, all in dark paint colors, on an unadorned display in a dark corner.

The Focus RS offers the extra-cost, extroverted Nitrous Blue exterior paint along with three other colors; Frozen White, Stealth Grey, and Shadow Black.

Start adding basic options like any color paint other than black or white (every color costs an extra $ 575), premium equipment packages with all those electronic goodies and sport packages with bigger wheels and tires, and you can easily climb past $ 60,000 — even before you trade up to a V - 6 model.

Other colors will be available, like mythos black and ibis white, but no matter which color you choose, the side blades and exterior mirrors will be painted in brilliant red.

This year, a new paint color dubbed Quicksand replaces Inferno Orange, while black and white remain the other two choices.

Designed by Jonathan Wesley of Kettering, England, the livery is a more dynamic take on the classic colors that also symbolizes the race's transition from light to dark with one side painted white and the other dark blue.

Other options worth considering are the special pearlescent or metallic paint colors or the special «R - Code» paint package that adds contrasting white paint to the roof.

Other features include 18 - inch alloy wheels, clear indicator covers, a Type S badging, and exclusive new paint colors known as «Premium White Pearl» and «Basque Red».

Other improvements include new interior color options (black interior with white paint for all trims) and the addition of a new touchscreen surface that cuts down on fingerprint smudges.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

While most Kline paintings are black - and - white abstractions, he did also work with other colors as evidenced by Lot 7, «Provincetown II,» a 93 - by -79-inch oil on canvas that was executed in 1959 and has an ambitious estimate of $ 2,500,000 to $ 3,500,000.

Landscape has always been an important element in my paintings, but the white on white wilderness and purity of Antarctica, its amazing wildlife and history soon convinced me to continue to work on the color field paintings but also to expand the vision in a number of other directions.

These prints represent all manner of special processes and innovative techniques in printing — such as using linen and cotton pulp paint and photo - luminescent inks; black and white and colored lithography; creative integration of collage and cut paper; incorporation of photographic images into digital prints; screen printing; and many others.

The «drips» do add a quixotic complexity to the work, but it the composition is already remarkably strong and the painting's almost fleeting glimpse of color other than white and black is actually more exciting.

Inspired by Cubism, Nevelson took scraps of wood and other materials found on the street near her studio and assembled them into free - standing and wall - mounted sculpture that she would paint a solid color — most famously, black or white.

Both turquois color paintings are similar, same size, color, distribution of brush strokes etc., but at the same time they possess a completely different character due to different grounds: one the one hand a white primed cotton and on the other hand an uncolored acrylic ground on canvas.

If you were using a paint color other then white and were going to sand to distress, though... you should not use Kilz or any white primer since you would see the white layer in between the wood and the paint color when you sand.

I can paint (contrary to popular belief, in colors other than black, white and yellow), and I'm pretty darn handy (if not at least patient) with the crafty projects.

In my 40's it feels good to paint everything white and add pops of color in other ways.

When you mix a paint color, you start out with a can of white base paint, and you drop a certain number of other colors into it.

We're going to paint it Simply White so that it's the same color as the other walls and looks like it's always been here, but natural wood can be a fun tone too!

I love the dark brown trim her husband made, and think that it ties in nicely with some of their furniture (the couch, trunk and side table in the corner), but I'd love to see a couple of the other wood pieces painted white and / or blue, (not necessarily the pieces I popped into the photo) just to inject a couple brighter colors, and to establish a dedicated color palette.

So I went with my tried and true method for choosing a paint color (other than white).

The room on the other side of the Dining Room is the Living Room, which is painted Sherwin Williams «Natural Choice», a slightly beigey, creamy white color.

Just clip a branch or twig and spray paint it white (or any other Spring color), and stand it up in a nice vase.

Other details we had to finalize: — For the cabinet color, we elected to color - match the white to our existing moulding throughout the house (which is roughly the color of what basic white non-tinted paint looks like after aging almost 50 years — we've repainted it all but had SW mix us something to match one of our old louver closet doors since we like the color).

Of all the other paint colors we sell collectively at The Purple Painted Lady - we sell that same amount (if not more) in just Old White.

We kept it the base color of Bright White as that's the color of the ceilings in our other rooms that were previously painted.

If I was choosing trim paint myself, I probably would have chosen a creamier white, this one is a little bright white for me, but bright white does look good next to other colors.

Step 2: Choose a color scheme: The majority of color in this painting is black, green, and white which will dictate the other items I use on the mantel.

I am thinking I will paint one all Seaside Blue with a white knob and the other will be a 50/50 mix of the 2 colors.