Sentences with phrase «paint markings applied»

Not exact matches

I thought I would need to apply Zinsser Shellac over it as so the paint would cover it, but thought I would experiment first and just try the Duck Egg Blue Chalk Paint ® directly over the burn mark to see how it covered.

At over # 200 a litre, Lamborghini's pearlescent paint isn't cheap, and apparently it's not the easiest stuff to apply either, so full marks go to Audi dealer Smith Knight Fay of Stockport (01613 350724) who did a brilliant job of repairing the LP640's badly cracked carbonfibre front spoiler and other less affected panels such as the rear undertray and bumper.

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In most of these canvases, paint is applied and then rubbed off, leaving erasure marks and cloudy patches that the artist says instills a sense of «deep ambiguity.»

Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies.

Borne out of Modernist painting as well as «action painting» — a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied — this theme extends to present day, where brushstrokes fade away to innovative mark - making techniques or performance and video.

Their works, bearing marks of how the artists made them, with paint applied in a rough and buttery manner, profoundly influenced Diebenkorn.

Each painting emerges from a series of marks carefully applied up over time.

The artist's vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish's work.

The genesis of the applied technique lies in his interest in Art Informel, where he used the sweeping, swirling path of the brush marks that were clearly visible, opposed to soft blurring that was used in his photo - paintings.

Edition: 50 copies signed, dated and numbered in Roman numerals in pencil on the endpaper, also numbered in Roman numerals in felt - tip pen on the penultimate page; oil paint on book cover applied by Richter with squeegee, in a light grey cardboard slipcase (designed by the artist) 20 copies, signed, dated, numbered in Roman numerals and marked h.c. in pencil on the endpaper; some of these also signed, dated and numbered in Roman numerals in ballpoint or felt - tip pen on the penultimate page; oil paint applied to book cover by Richter with squeegee, in light grey cardboard slipcase (designed by the artist)

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

In the uniformity and repetition of the shapes, they seem to underline the formality of fixing nature into a stillness, but what unites these works with her more naturalistic landscapes are the deft, confident strokes of paint that seem to arrive effortlessly on the canvas, and their contradiction with the more preciously applied marks that flicker and activate the painting's surface, along with our eye.

Using spray paint on top of paint brushed marks, you can draw a line of references from Pollocks dripped paint (similarly applied from a distance), to modern day graffiti.

This intriguing and original technique is achieved through expressive mark implementation, along with the oil paint that is applied using thin layering and employed onto each canvas.

This marks the beginning of his «color chart» paintings, in which he systematically applied square hues of solid color to large canvases.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of clear independent marks that form a whole.

Transparent, watery, washes of paint are applied over parts of the surface, exposing or covering the preexisting marks and textures.

Presenting unique and in - depth collaborations and editions with leading international artists, Parkett No. 65 features collaborations with John Currin (United States), Laura Owens (United States) and Michael Raedecker (The Netherlands), three painters who apply their individual marks and styles to the traditions and techniques of painting.

Maintaining the consistency of the brushstrokes while varying the amount of paint and pressure applied, Lee keeps «expression to a minimum in order to achieve the maximum» (L. Ufan, Lee Ufan, Tokyo, 1993, p. 3) The almost hypnotic repetition of marks that comprise From Line is created by the artist pressing a brush loaded with blue paint suspended in viscous glue directly onto the surface of the canvas, then repeating the process until there is barely any pigment left on the filaments of the brush.

In his iconic Combines — hybrids between painting and sculpture — he scoured the neighbourhood for discarded materials which he applied to the canvas and covered with abstract paint marks.

In these works, paint is applied with a brush, but it's not about the stroke or mark in the abstract expressionist sense.

Reception: Friday, April 8, 5 - 8 pm Artist Talk: Thursday, April 21, 6 pm «We sit in our studios, alone, looking at the rectangle, making marks, applying paint, creating textures and forms.

Usually filled with evenly applied and saturated color, in «Luster» the paintings again diverge from earlier work through visible brush marks that leave an imperfect, textured, and varied surface making evident the process of paint application.

Messy and visceral certainly applies to the dynamic paintings of Judith Bernstein at Mary Boone; Mark Bradford at Hauser & Wirth; Karen Schwartz at Life on Mars; and Jackie Saccoccio at a double - venue outing on the Upper East Side (Van Doren Waxter) and Lower East Side (Eleven Rivington).

«Timeless» is a clichéd adjective, particularly when applied to painting, but in the case of Brice Marden's new works in his two solo exhibitions at Matthew Marks, it is especially apropos, referring less to the transcendent effect these marble paintings may have on a viewer than to the fact that they seem simultaneously anachronistic and contemporary.

The exhibition name derives from «ideograph», a term usually applied to markings in prehistoric cave painting which suggest the idea of an object.

Rendered in thinly applied automotive paint on aluminium sheets folded at the edges to form large industrial - looking trays, these impressionistic works, with their visible brush marks and gestural drips have, as the exhibition's title hints, the feel of half - glimpsed stories, the clarity of their message faded through time.

Adhering to an unwavering method of applying paint that predicated on disciplined mark - marking, Hartung unleashed controlled bouts of impulse and emotion.

Her blood red paint is «at once bodily and ethereal — the paint, applied «wet - on - wet,» was allowed to bleed and coalesce, leaving a range of organic, accidental marks that complement the corporeal nature of the imagery.»

The techniques used to execute the paintings have changed too — the emphasis on texture brings a greater variety of marks which follow more abstract principles, and I have devised new ways of actually applying the paint.

His meticulous process involves the application of thousands of «marks» of oil paint using dozens of colors that he mixes and applies in thick, textural layers.

His unique process involves a direct transfer of the fabric's floral patterns onto canvas, which Vallejo then enhances through hand - applied paint in a seemingly haphazard manner that yields a shockingly harmonious ode to color, mark - making, and country.

Hernández works methodically, using brushes or applying paint directly from the tube, rendering animated lines and marks before washing and scraping the surfaces of his works — in effect creating compositions that appear at once ordered and explosive.

I apply brushstrokes in multiple directions so that light, hitting the ridges or marks made by the brush in the paint, causes some areas to read matte and some glossy.

Heilmann considers the whole painting — its sides, top and edges — and paint is applied to each through rapid brush marks, dribbles and drags, either intentionally or incidentally.

He advises homeowners use a 4 - inch - wide roller to apply the paint, and then go back over it with a brush to remove any roller marks.

The brushes are designed to take a large amount of paint and to apply the paint evenly, minimizing brush marks.

I thought I would need to apply Zinsser Shellac over it as so the paint would cover it, but thought I would experiment first and just try the Duck Egg Blue Chalk Paint ® directly over the burn mark to see how it covered.