Sentences with phrase «paint frames of film»

«Loving Vincent» required more than 100 artists to hand - paint frames of film, a masseuse / healer and a billionaire encounter one another unexpectedly in the film «Beatriz at Dinner,» and more top picks.

Not exact matches

Personal or Handmade Touches - Handmade invitations (made by ourselves)- Handmade place settings (made by ourselves)- Handmade Guest Book (drop frame — guests signed a wooden heart, and dropped them into a frame)(made by ourselves)- Framed pictures for table names (made by ourselves, and named after cars from Harry's favourite film)- Personalised cake topper and cupcake decoration (cake topper from Ebay, and cake made by my Aunt)- Handmade bridesmaid's posies (made by my mum)- Personalised and hand painted wedding shoes (for Bride)(done by Beautiful Moments)- Personalised champagne glasses for Bride and Groom to use for toast (bought as a present by my sister and her family)- Ushers were bought cufflinks to wear that reflected their personal interests - Bridesmaids were given personalised flat shoes to wear in the evening (personalised by me)- Handmade bridesmaids dresses - Flowers and buttonholes, and bouquet all made unique, with my bouquet including charms with pictures of my grandfathers on them.

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

Each frame of the film looks almost like a painting.

Yes, he constructs various shots as paintings in a frame, but he does so with such a stylish, subtle touch the device never feels forced, and works on an almost subliminal level to enhance the richness of the film's scope.

It's a mesmerizing look at Vincent Van Gogh's final days, as elegantly interpreted by a team of 100 professional painters who hand painted every single frame of this truly unique film.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

The film is a beautiful piece of art, a painting come to life, every single frame so carefully crafted from the makeup to the costumes to the set design, to the way the camera moves from one room to another, and to the incredible performances.

The film features around 6,500 frames all hand - painted on canvas in the style of the iconic artist and Booth stars as Armand Roulin, who was famously painted by Van Gogh who wore a bright yellow jacket, as he attempts to deliver the artist's final letter to his brother following his suicide.

Billed as «the world's first oil painted feature film», which is slightly harder to quantify than the film's PR people might hope, Loving Vincent consists 65,000 frames painted by a team of 125 classically - trained painters on glass, with about two - thirds of those have been copied over live - action reference footage.

More than six years in the making with the help of 125 specially trained painters, Loving Vincent is a uniquely animated film composed of 65,000 painted frames — Watch trailer below!

Live action footage will be filmed and then projected, frame by frame, onto canvas and painted over in oils in the style of Van Gogh.

Many scenes take place on a vast wooden stage, dressed appropriately for the scene, and every shot of the film is framed, lit and coloured as if it were a Renaissance painting.

LOVING VINCENT is the world's first fully painted film, with every one of the 65,000 frames of the film an oil - painting hand - painted by 125 professional oil - painters.

The film follows Gustave's mentorship of young lobby boy Zero, his sudden inheritance of a painting by a dead older lover (Tilda Swinton), his subsequent framing for her murder and the chase to both recover the painting and break Gustave out of prison.

by Bryant Frazer More than twenty years ago, I sat in Stan Brakhage's office at the University of Colorado, handling original frames of 65 mm IMAX film stock that the avant - garde filmmaker had hand - painted with swirling layers of colour.

-RRB-, only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

The first «fully painted» feature film took a live - action drama of the days following Vincent van Gogh's untimely death in a small French village and, with the work of more than 125 artists from around the world, converted every frame into an oil painting in the Modernist's style.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Inspired by the spoken, written, and performed introductions Conrad regularly used to help frame screenings and presentations of his works, many of which are incorporated into the exhibition itself, it shows Conrad to be an unparalleled innovator in the mediums of painting, sculpture, film, video, performance, and installation, tenaciously working to challenge the boundaries between artistic categories.

Lined up on a wall, the Sunday Paintings have a cinematic quality: each panel looks like a frame in a film sequence — a moment in time stilled — as if each is a part of a larger ongoing whole.

Applebroog propels her paintings and drawings into the realm of installation by arranging and stacking canvases in space, exploding the frame - by - frame logic of comic book and film narrative into three - dimensional environments.

The brothers approach painting as a visual representation of pure energy: everyday scenes explode in vortexes of blinding color, movement is practically animated, and products make their placement, an effect similar to viewing every frame of a film simultaneously.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

Nora Griffin draws on an array of diverse sources, including film theory, constructivist art, the late works of Philip Guston and the unruly colored frame paintings of Howard Hodgkin.

Arranged in grids on the walls, these multi-panel pieces recall MRI scans, frames of time - lapse films and abstract paintings.

Screened in dozens of international festivals; winner of awards from Greenpeace, Woods Hole Film Festival, UFVA, the Black Maria Film Festival, and others; and part of the theatrical release The Animation Show of Shows, this film was made with animated clay - painting, oil - based modeling clay brought to life frame - by - frame.

Including film, wall paintings, ceramics, silkscreens, Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories.

This epiphany, which would eventually lead the artist to abandon painting altogether, inspired his first films, a tetralogy of short animations in which forms previously locked down on canvas were freed to morph and dance about the frame.

Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories,» states the Contemporary Arts Center.

Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories.

The «X» of the title, however, refers not just to the pattern made by the chair's frame, and to the pornographic film rating, but also to a traditional compositional structure in painting.

Painted traces of film perforation create an affinity to the «frame» in cinematography, in particular Jean - Luc Godard's Film - tract no 1968, in which he recorded red paint running over a French flag and pages of the newspaper Le Monde.

Lawrence Weiner's contribution is his Filofax which he considers his sketchbook; Gerhard Richter loaned a three - ring binder with installation diagrams, designs for frames and color notes, which document one year of work; John Chamberlain's contribution includes crushed cigarette packs which are sketches for his sculptures; Robert Ryman loaned a film labeled «Old Fasteners» which contains drawings for the hardware on his paintings.

The massive showcase will premiere 36 new paintings including watercolor paintings, 40 framed original sketches, dozens of illustrations, puppets, a stop - motion animated film and a new mural on the gallery's wall based on her long - awaited illustrated book «The Cabinet of Dr. Deekay,» a dystopian horror fairytale that will be published this summer in conjunction with the exhibit.