Sentences with phrase «paint layers into»

Not exact matches

First and second grade paintings will lead you into third grade creation themes, where you will learn how to layer colors to achieve darkness, and how to bring color into form.

After a few yards, Kool kneels and points to blotches of stone that seem to drip like a bad paint job into the cliff's thin horizontal layers of stone.

In Arizona's Painted Desert, paleontologist Paul Olsen is drilling into multihued rock layers more than 200 million years old in hopes of confirming his controversial timeline for the late Triassic period.

So I finally made the move into my new house (after hours and hours and layers and layers of painting and priming) and I feel like my normal routine has been out of whack..

With only a few more months before fall forces our bright berry - painted toes into layers of socks and Chelsea boots (Harry Styles is actually excited about this), we have to take a moment to appreciate the greater things in life.

Step 2: To tie into the beach theme, I found these painted dishes that felt as whimsical as the tabletop I wanted to create, and they make for a perfect first layer because the pattern along the edging lends some new colors to the table!

Last of all I used a clear soft wax to seal the layers of paint, pressing Amy Howard's Dust of Ages into the crevices while the wax was still somewhat tacky.

My guess is the yellowing won't work it's way through the wax layer and into your fresh paint, but I'd give it a few days before sealing to be sure.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

The individual slides focus on building construction outlines, understanding tonal identifications plains, understanding ellipses, matching the feedback statements to student's drawing and painting, wet into wet blending, building painted layers and finishing touches.

The experimental techniques are: white paint printing, collage, wax and scratch, distressing surfaces, dripping paint, scraping paint, using sgrafitto, cardboard collaging and layering and digital manipulations with collage to using fabric and sewing into surfaces.

• The steel front - of - dash panel is sandwiched between two damping mats • Nylon baffles are used in various hollow portions of the body structure and filled with sound - absorbing foam that expands when the body enters the paint oven • The headliner comprises five layers of thermal fiber acoustic material, including a premium woven fabric on the visible outer layer • Patches of sound - damping material are applied strategically throughout the body structure and melt into place when the body passes through the paint oven, allowing the patches to follow the contours of the sheet metal below • Sound insulation material between rear - body structural components that is made from recycled denim • Triple - sealed doors that feature fiberglass «blankets» serve as water, airflow and noise barriers.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

Approaches to oil painting techniques include indirect painting, whereby successive layers of paint are added to build up a painting's surface, as well as «wet into wet,» which involves blending wet paint directly on the canvas and is closely associated with alla prima painting.

This painting is very superficial with the perspective, with the illusion, to get you into the layers of the image, to the conceptual part, to the idea of the land and what has happened there.

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.

Going back to how you [Gooding] describe the earlier work, there was in fact a self - conscious desire to block off or direct the viewer's process of looking at it or looking into it, and this later evolved into a later stage in which there was actually an invitation to «look in», but in which at all times the viewer was encouraged to be aware that the painting was made out of real things, real physical layers, rather than illusions.»

«I've always liked the physicality of paint,» says the artist Angel Otero, who transforms liquid material into thick - yet - elegant layers, or «oil skins,» as he calls them.

Connors mostly uses raw canvas, often taking rubbings from his studio floor, pouring layers of paint into the fabric like dye, or using one wet painting to imprint another.

Can you tell us about the cuts, those thick layered paintings into which you literarily dig trenches?

It's true that when I put too many layers on the painting it often falls apart into pieces even though every layer is carved into the painting rather than superimposed over the existing layers.

Greenbaum's paintings are a record of their coming into being, with each layer acting as a response to the preceding decision.

Over the last decade the underlying drawings beneath the layers of thick paint have evolved into her «inside out» paintings.

The paintings by David Ainley are colour monochromes built up in layers of thick paint, forming a substantial surface into which Ainley scores lines, revealing parts of the underpainting, in a process that is similar to excavation or mining.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

But when seen up close, what look like Impressionistic brushstrokes reveal themselves to be tiny but precise indentations, carved into surfaces that have been built up with dozens of shimmering layers of acrylic paint.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

Moving into the latter part of the 60s, the third and fourth rooms suggest a broadening of Hoyland's palette and a more overt crowding of the surface with forms and, in the case of 17.1.69 (1969), a layering of the paint in so sophisticated and meticulous a manner that the canvas tends towards opalescence.

Her work begins with marks, stains and cracks on the ground which Calame traces, then combines layers and retraces, transforming them into drawings in coloured penicl or pure pigment and paintings in enamel or oil pain.

The photographic image, it's digital reproduction, and the acrylic abstract painting sit as separate medium - specific layers, while also compressing into a single composition.

Her vibrant abstract collages layer hundreds of vibrantly painted pieces of paper into dense collages that speak to topographies and mapping.

Radiating lines drawn in oil stick across the canvas both infuse the work with a sense of dynamism and energy and incise layers into the thick oil paint.

But whereas the work of those artists achieves a meaningful dissonance through a sundry aggregation of disjunctive motifs, Picabia's layered images serve to reinforce one another within each painting, coalescing in their signification into a unified expression or theme: in one case it is the seductive menace of his Portrait of Kiki (ca. 1938 - 40), a demimonde figure painted in lurid yellows and greens with a spider form imposed over her face; in another it is the cheesy eroticism of Reve (ca. 1935), an image of a sleeping woman about to be kissed imposed over a nude standing (like Botticelli's Venus, but with arms upraised) on the surface of the waves.

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.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

Through the process of transcribing these sketches into paint he has to scrape and reapply paint repeatedly; forming several layers that overlap which creates further abstraction of the figure and its surroundings.

In his paintings, Vital delves into the deepest layers of humanity, by wiping off all the excess on the surface.

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.

I worked on paper and began to incorporate Chinese decorations into my paintings — pushing the layering of space with stencils of these forms.

Transposed into an artist's book, they suggest at least as many layers and diverted streams of information as Wool's word paintings do.

Quinn will present densely layered paintings that transform art historical genre painting into contemporary experience.

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

His paintings, stemming from this dual interest in the forces of nature and abstraction, have strong gestural and textural qualities, intricate layering (with the strongest elements of each layer coming through into the final work), and an evocative sense of color and light that aim to distill something essential from the natural world.

This one, from his new «Landlord Painting» series, was inspired by the way that landlords use roller brushes to hastily repaint an apartment's walls between tenants, and, done in candy - colored layers that hypnotically bleed into one another, it's completely beautiful.

Layers of further media such as painting, photography, drawings and watercolours are then superimposed and brought into relationship with one another on terms of equal valency — so producing an involving, engrossing, all - encompassing and richly detailed installation.

This print translates Abts's characteristically precise, meditative, and abstract painting style into a new medium, employing multiple printmaking techniques to create a complex, layered composition that balances linear, geometric elements with fluid, sinuous strokes.

A collection of 33 paintings that range from miniature to large scale, Kobaslija's show turns UNF Gallery at Museum of Contemporary Art Jacksonville (MOCA JAX) into a winding rumination on those concepts layered...

There is no need to pre-define their characteristics because these reveal themselves innately.The layering of painterly thought is an art form that attracts artists who start with an idea and accept that it will not be carried out as planned because unforeseen changes — some radical, some subtle — will smuggle themselves into the making.Overall, Kahn's paintings became much more complex.

All compositions venture into various configurations of spatial expression created by the superimposition of layers of paint and layers of prints.

The hosiery layers are artifacts of a private performative act in which the artist wraps herself in hosiery material to enact a series of precise body positions, recorded while sleeping, into pools of acrylic paint on a canvas.