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.