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