Sentences with phrase «paint in thin layers»

He influenced the younger painter, who began to paint forms more simply and started applying paint in thin layers of colour.

From there she applies paint in thin layers on board, in between whitewashing and sanding.

My response to the place was in the form of large abstract works painted in thin layers, with drips, hardly any brushwork.

Not exact matches

The findings, which have been reported in Nature Communications, reveal that the h - BN layers form the strongest thin insulator available globally and the unique qualities of the material could be used to create flexible and almost unbreakable smart devices, as well as scratch - proof paint for cars.

Spray paint the chest the color of your choice, using two or three thin layers, allowing them to dry completely in between each coat.

I visited a sixty - three - year - old portrait painter in her studio, traced the history of her work chronicled in her large portfolio, and watched as she applied thin luminous layers of paint to a portrait in progress.

In hindsight I would have worked more tonally from the offset, and painted these layers with much thinner paint so that it did not have the opaque coverage.

My figures are painted in the method of the old masters, where I build up thin layers of paint over an extended period of time.

Like Louis in his «veil» paintings, Lawlor merges thin layers of pigment in ways that create emotional entities that embody rather than convey deep feeling.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

In each painting, a thin, vertical line where the cleansed and painted sections of the composition meet visually vibrates with the remnants of the surface's original layers of paint and separates the two halves of the canvas.

In his current show, Whitney extends his gamut, going from thin, crackled surfaces, to washy, translucent layers exposing painted over shapes, to solid planes of color.

In his recent exhibition, Standard Deviation, at the Green on Red Gallery (May 30 — July 6, 2013), the aluminum sheets that make up the surfaces of his paintings are covered with thin layers of translucent colors; puddles, slashes and spills; scraped, sanded and scarred areas; built up grooves and ellipses, none of which add up to an overall image or dissipate into randomness and chaos.

He was particularly interested in the effect of the soft, malleable qualities of the lead that became visible through the thin layers of paint which he applied to the surface.

He painted in thin, layered washes of color that seemed to glow from within, and his large - scale canvases were intended to be seen at close range, to that the viewer would feel engulfed by them.

He uses a wide range of brushwork and surface treatments to draw attention to the varied textures of the canvas - often applying distemper (a tempera paint made with dry pigments in animal glue) in thin brushy layers - to capture qualities of light and the changing effects of the atmosphere.

Instead of Dingle's typical palette of blue, sepia and grey, these compositions are rendered in a sugar sweet mélange of pastel yellows, ochres, greens and blues in a fanciful layering of both thin washes and sweeping, buttery strokes of oil paint à la Wayne Thiebaud.

The paintings» wax - like surfaces — built up over weeks and months in thin translucent layers — have a luminous warmth and spatial depth.

Viewed from the side, the work looks like a thin layer of tumbling paint but it is in fact plaster, cast from a mould and spray - painted a glossy black.

Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well - lit field of modern paradigms: by referencing the monochrome as he did in his previous «joke» paintings, by reintroducing collage and silk - screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

Each painting in «Los Angeles» begins with a gestural abstraction made in thin layers of Flashe paint.

Very little of the slender lines of collage, delicate papers built up in thin layers or washes of paint almost completely sanded away is apparent in reproduction.

Technique: • In these paintings, I opted for thinner paint application with many layers so the paintings have a deep color - field resonance.

Rather, he applies multiple thin washes of paint in each cell of the grid, layering red, yellow and blue until they accumulate into extravagant full - color images.»

Using a mix of bright colors and more muted tones, as well as thin washes and thick layers of paint, Youngblood builds up complex, spatially ambiguous surfaces that in her words «mimic objects, materials, and things from the real world.»

She works in a combination of paper collage, text and thin layers of acrylic paint.

In «Tablet 142» (1964 - 65), She attached thin undulating pieces of wood, most likely made by planing a board, to the front of four vertical panels that have been abutted together and coated with layers of white paint.

He uses a wide range of brushwork and surface treatments to draw attention to the varied textures of the canvas — often applying distemper (a tempera paint made with dry pigments in animal glue) in thin brushy layers — to capture qualities of light and the changing effects of the atmosphere.

Using turpentine in conjunction with oil paints Innes thins and removes layers, revealing underlying colours and leaving the evidence of his process on the canvas.

This is reflected in her unique style of putting many layers of thin paint.

A hodgepodge of modernist sources lurks in the background: in one piece, a bulls - eye shape is reminiscent of Kenneth Noland or Jasper Johns; in another, gauzy layers of thinned paint form a black veil — an unexpected take on stain painting.

Join us for a reception celebrating «In Between Dreams and Reality,» a thesis exhibition by Hwahyun Kim (M.F.A. painting) showcasing works that combine fastidiously drawn ink motifs with blocks of color or translucent layers of thin, gestural paint.

Unlike the surfaces of earlier paintings, in which thin layers of rolled acrylic paint constituted the backgrounds onto which black pixelated images were silkscreened, the backgrounds of the Shadows canvases were painted with a sponge mop, whose streaks and trails add «gesture» to the picture plane.

SCAD presents «In Between Dreams and Reality,» a thesis exhibition by Hwahyun Kim (M.F.A. painting) showcasing works that combine fastidiously drawn ink motifs with blocks of color or translucent layers of thin, gestural paint.

The works in this series are all paintings on canvas, comprising multiple thin «glazes» of paint that have been layered over one another and evenly applied across the whole support.

Working in the glazing technique, the paintings are developed through numerous translucent layers of pigment suspended in thin acrylic layers which creates an environment of diffused light that remains minimal and abstract.

The paintings can take months to complete, the artist beginning with thin coats of oil or tempera before the topmost layer is applied in a thick impasto.

Filmstrips, prints, transferred images, pared - down layers of pigment, caustic acid and thin layers of oil paint are patched together in meticulous ways to visualise speculative worlds.

Parsons creates these lyrical surfaces with thin layers of paint, pushing the paradigm of flatness in Abstract Expressionism even further than her contemporaries.

One of Ireland's most respected exponents of abstract art, his paintings are carefully built up in layers of thin colour with stone powder ground into the acrylic.

Once the gesso has dried, he uses a palette knife to apply a thin layer of oil paint, building up the layers in certain places, and leaving other places with only a thin wash of color.

These paintings while still fully within the style of Close, represent a new direction in the artist's practice as «he applies multiple thin washes of paint in each cell of the grid, layering red, yellow and blue until they accumulate into extravagant full - color images.»

The 1990s through the present has witnessed the continued efflorescence in painting, as demonstrated in this show by works such as Judith Godwin's Blue, No. 11 (1997), a lyrical expression of mixed emotion, Jasmina Danowski's Tender Trap (2012), in which the artist conveys a sense of moving through an aquatic and sensuous world, Carol Hunt's Easter Morning (2011), featuring a calligraphy of line and shape that conjures archetypal signs and symbols, Katherine Parker's Behind and Above (2011), a canvas built of thin layers of paint that the artist has scraped away to convey a metaphysical awareness of the passage of time, and Susan Vecsey's Napeague Bay, Montauk (2012), in which the subtle color stained into the canvas evokes the emotion of a place remembered and deeply felt.

He typically uses rollers as well as brushes to apply acrylic co-polymer paints in countless thin layers until the desired colour saturation is achieved, utilizing tape to achieve ultra-crisp edges.

Wooden panel paintings are sometimes used as an alternative to canvas when very precise paintwork is intended (miniatures were / are still painted on wood, copper or even slate panels), or in conjunction with tempera or acrylics when the artist wants to build up the paint in very thin layers.

The paint was applied in thin layers of predominantly grey and black.

While in other areas, the paint thins out to expose under layers of color and texture.

It is his work titled «When It Starts Dripping From the Ceiling,» in which he created a «tower of wooden slats under which a rubber trough was placed with a thin beige layer of paint representing dried rain water.»

On the front left corner of the house, they found hardwood floors, covered in a large carpet remnant, and an original fireplace, covered in a thin layer of white paint...

After that, I used a regular paint brush to dry brush on super, duper thin layers and layers of the Alabaster paint, in the direction of the grain.