Sentences with phrase «paint layers up»

Not exact matches

Cakes: More and more couples are opting out of the traditional wedding cake and going for looks that are more unique — like floral patterns hand painted on different tiers or nixing the sweet and going for something more savory with a «cheese» cake, made up of various layers of cheese wheels.

Mommy just doesn't want to have to set up all those paints, watch you completely soak through a single sheet of paper with seven layers of paint, and then move on to the next thing, leaving her to clean up.

Researchers set up an x-ray fluorescence instrument to probe the underlying layers of Pablo Picasso's painting La Miséreuse accroupie.

When he looked at the layers of residue and engineers» markings built up over nearly 50 years, Michael Soluri perceived a modern cave painting.

Put up two layers of sample paint.

Because of this, I found that you really have to build up the paint and work in layers, letting each layer dry in between.

I stepped in here and cleaned things up a bit, using bleach on the black stained areas before painting the chair with two layers of paint.

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

Usually I mix it rather «thin» but recently mixed it thick because I did want a paint mixture that made it possible to actually build up layers of paint for an old European look on a chandelier.

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.

After removing a layer of dust and grime, the auction company says the Black Jade paint appears 75 percent original, aside from a few applications of touch - up paint.

Paint reacts just as is would in real life, with paper blotting with watercolours, layering up with oil paints and you can even scrape away the layers to reveal your base colours.

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.

We've got a really good base for our painting now, so we can start to build up some of the layers of colour that will make this picture luscious and vibrant.

Abramowitz writes: «As is typical of his paintings, [Auerbach's] drawings often show many layers of built - up re-workings until there is a dense mangle of lines, each mark thought through, erased and re-considered until he is satisfied... His working process results in portraits that are both an expression of his reaction to the sitter, and his own idiosyncratic way of working, creating, destroying, and creating anew.»

I paint with oils in a profusion of vibrant color, building up many layers of paint in a free and fluid way yet always engendering harmony.

She builds up her paintings with thin washes and layers.

In the last few years, I found a way to embrace contradiction through illogical layers of transparent color, letting color energies construct the painting while all kinds of shapes and incidents just overlap and build up color.»

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.

The first thing that strikes you when looking at a John Copeland painting is the gloriously thick layers of paint that makes up the image.

Drawn initially by the accidental beauty of the layered painted surfaces that cover up graffiti, I recognized them as powerful remnants of development resulting from constant negotiations in an ever - changing urban environment.

I gained new practical knowledge about the importance building up layers and applying glazes, because as each successive layer is built up on top of another, on completion the intensity of the pigments positively brings the painting alive with colour.

Terre verte also figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the painting.

There are a lot of silver under - layers in my paintings that get covered up and they change how light magic happens.

Rubin builds up the surfaces of her work with undiluted, unglazed layers of oil paint applied with uncanny precision.

Do you generally build up the painting in a layered, indirect manner or do you work more directly?

Her paintings are built up through layers of acrylic paint on canvas, overlaid with mark - making using pencil, pen, ink and thick streams of paint.

It is imperative that Ofili's paintings be examined up close, only then is the precision with which he has layered the canvases using paint, epoxy and collage to introduce depth and texture revealed.

The densely layered surface of built - up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions.

In the 1992 «MLR (More Light Research)» series, Genzken built up layers using stencils and multiple applications of metallic paint sprayed through screens to create shimmering images, including one of the Hancock Building X, another of a grid of lightbulbs and several featuring a pair of gymnastic rings.

In the studio, Dine moves between building up layers of gritty paint and blasting them away with power sanders and other tools.

alla prima is a painting technique done mostly in oils, in which the work is completed before the first layer of painting has dried up or is still wet, such as the «impressionist» technique or «Glaze (painting technique)».

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.

Seliger was equally celebrated for his meticulously detailed abstractions as well as for the techniques he invented and used to cover the surfaces of his Masonite panels — building up layers of acrylic paint, often sanding or scraping each layer to create texture, and then delineating the forms embedded in the layers of pigment with a fine brush or pen.

The layering gets built up to a thickness of about 3 cm, so a painting can become quite heavy, it gets almost sculptural.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

[11] The layers of paint build up a surface with tangible depth.

Layers upon layers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movLayers upon layers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movlayers of gel build up a translucent image between a lattice of cord and situate the painting in the aforementioned constructed painting movement.

In the 4 large - scale paintings featured in this exhibition, including Auguste Rodin: Les Cathédrales de France and A. R. A. K., the layers are broken up and areas of thickness are worked and worked again with earth - toned materials.

This counterpoising of chance and risk is a thread throughout the exhibition and one picked up on particularly by Gerhard Richter in St John (1988), part of his London Paintings series, in which he builds up layers of paint using huge spatulas, before erasing and revealing earlier moments with a squeegee.

With the painting on glass the image was built up in layers on the back of the glass and in reverse.

With each layer I add I always become attached to brush marks or different sections so end up leaving parts of the under painting showing through.

Richter drags, smears, and scrapes layers of wet paint, leaving tracks of his movements across the surface and then covering them up.

Now 40, he takes sedulous care with his canvases, building up 10 to 15 layers of paint to achieve the complexity of his finished images.

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.

Upon close examination, the pearlescent layers of wax and modeling paste reveal the hand of the artist, who was building up the surface to accept his own version of a new painted language.

Through layers of paint applied in an utterly abstract gestural style, which seem to cover instead of disclosing an image, the pictures record time, summing up the experience of looking, processing, and representing.»