Sentences with phrase «painting process comes»

So, here is where the artistic painting process comes in.

More on my painting process coming in another post...

Not exact matches

This is where I am at now, board meeting is coming up and I have all my questions ready to go... problem is that I will probably not get any of the answers, and processed foods will come back in full force because they feel that is the solution to the financial loss since the food service director has painted the picture that way.

Way to go on sticking with it and coming up with such an ingenuous solution (painting) in the process.

I am not sure what the whole process looks like, as far as how they come up with the colors for each season and how those translate to fabric versus paint or graphic design, but if you start paying attention to the Pantone colors, all of a sudden you will begin to see those colors in the new season's line of clothing, home furnishings, graphics and even architectural designs for offices.

Spielberg's «Lincoln» tries to work the middle ground between the two, but it can't help coming down on the side of Lincoln the Saint most of the time, painting him as a font of wisdom who flits about the White House dispensing the wisdom of the ages as he pokes and prods men to do the right thing and tries to keep his hands clean in the process.

Just in the action itself they come to life, only using my awareness during the painting process.

In the coming months, we will develop an application process that spells out exactly what we mean by turnarounds — but let me paint a rough picture for you.

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This first Club Series car — the Toyota GT86 Orange Edition — comes with a Solar Orange paint job (you won't be able to ignore it on the road) which «pops» thanks to a special triple - coat process, with a metallic black finish on the rear spoiler tips and door mirrors as well as a set of black 17 ″ alloys.

The Ghost undergoes a 7 - day paint - and - polish process, and the leather used for the upholstery comes from cows raised in a pasture without barbed wire for flawless hides.

Coming up this summer will be mentorships: Stainless Steel Sculpture with Nathan Snyder, Storytelling: The Mechanics of Creative Writing with Benjamin Sutherland, Alternative Process Photography with Joyce Wilson, Historic Plein Air Painting withThomas Van Stein, Drawing: Creating a Series with Rafael Perea De La Cabada.

Fourthly, they come with wooden wedges which fit into pre-cut slots in the corner, so you can tighten up a canvas that has sagged a little during painting process.

In regards to painting in a series, is there an appropriate «cut off» for when a series should end, or can it be an ongoing process that you can leave and come back to?

Artist Walead Beshty, who authored the essay for the exhibition's illustrated catalogue, explains, «Just as the ritual object accrues meaning incrementally and over time through a repetitive process of investment and stewardship, DeFeo came to favor producing paintings through a process of slow accumulation in lieu of the explosive and loose gestural compositions that were common at the time.»

I loved Nancy Graves's sculptures of stuffed camels, Eva Hesse's gnarly materials in space, Lynda Benglis's giant poured - paint blobs coming off the gallery wall, Jennifer Bartlett's process dot paintings.

Their works feature dense accumulations of ink, paint, canvas, and paper which come together to depict bodies caught in the process of deterioration or collapse, as if the pressures of humanness are too great for them.

Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical — the process and the action is the act of art, artworks are not in the focus; this is something that would influence the emergence of a number of art movements in the coming years.

As of late, emerging artists from throughout the world have been busy tearing painting down, and building it back up again; questioning exactly what a painting is; and coming up with ever more inventive and unique processes for making paintings.

Lynda Benglis's poured works come to mind, not only for similar process but also the use of industrial or house paint.

It seems that Studio School students or people that teach at the Studio School support the idea that there is a lot of work that most go into the process, a lot of hours in the studio, a lot of experimentation, a lot of soul searching and mistakes that must go into your painting, drawing, sculpture, whatever it is that you do... before you come to something that's truthful and honest, that's been boiled down, you know?

However, because both paintings come from the same original concept, which is a two - stage process of «painting the paint with paint,» the two paintings become inseparable consequently.

«The ancient, labor - intensive process of encaustic painting has come a long way since art historian H.W. Janson, in 1941, declared it an «almost forgotten medium.»

How do the drawings work in your process, do they come in when the painting isn't making any progress and you find the need to go somewhere else?

The way I've figured to go about doing this through objects is to always try to surprise myself, decision by decision, as I build each painting with the hope that the viewing experience mimics this process, meaning that I hope that the painting unfolds, collapses, comes back together and unfolds again in a different way as the viewer navigates through it.

In fact, to focus too much on the artist's identity clouds the fact that Bradford is still coming down from «Scorched Earth,» a survey at the Hammer Museum that was zealously received, due in part to Bradford's ability to bring much - needed political concerns into his handcrafted abstract process of assemblage and painting.

This sense of being born is hard to come by in the painting process.

In 1991, in the only published text she wrote about her work, D'Hollander explained her process: «A painting comes into being when ideas and the act of painting coincide.

Colvin's subtlety and dexterity comes from a decade - long interrogation of the practices and processes of drawing and painting.

With the printing process, which involves materials such as metal, wood, synthetic foam, plastics, and paint, Schultz refers to a primitive writing technique in which ideas are set down or pictured directly as they come to mind.

«My paintings are imagined futures,» continues Jago, «I suppose I'm processing a fear of the days to come.

KSYes, Serra has said that the idea that the form in a painting like Autumn Rhythm came out of the process was important to him as a student.

And she convinced her mother to become her first model, producing erotically charged images that became the basis for her early paintings, In fact, much of her process comes from performance, and photographing performances that she stages.

He has developed and honed a process that requires his precise and repeated attention, particularly with the application of the dots, and through this process he transforms his paintings into a record of an act of devotion as it comes into being... We can not experience Goldberg's paintings fully until we recognize how they were made, and the quality of direct and simple attention that he has brought to bear on them.

But it's a longer process until it becomes a painting, there are other things that come into play, because the paintings for instance are all different scales, whereas these books are always the same size.»

An outstanding collection of drawings, prints and paintings from Southampton City Art Gallery comes to Quay Arts for The Drawing Process this autumn.

While these paintings engage with the history of modernist painting — and more specifically, narratives of abstraction and monochrome — they come out of post-minimal and feminist concerns with materials and process rather than modernist reduction.

Rules against touching the art always seem odd when you consider that most paintings and sculptures come to be through processes of constant and intense handling.

«I think the desire to paint comes out of looking at paintings and identifying with the actual material process.

She aspires to make real the energy that comes from the painting process itself.

Beginning with a collection of images or ideas that she holds in her mind, she lets the intuitive process of painting take her away from them, back to them again, and so on until the work comes to a point of (un) certainty.

Pencil marks and globs of white paint show through Bas's narrative descriptions, coming together in whirls of bubbling water and schools of swimming fish, making the process of painting as important as the story being retold.

In the early 1950s, Robert Breer, at the time a geometric abstract painter living in Paris, came to the realization that his interest lay in «the process of painting rather than any fixed composition.»

The naming of Krasner's paintings, in a similar fashion to that of her husband, Jackson Pollock, was a process that came after the work was completed and was often quite collaborative.

Bucolic scenes from trips or images extracted from videos that caught her attention trigger a process towards paintings that come into existence in a rare combination of seriousness and leniency.

Executed on unprimed canvas and attached to rollers, it differs from conventional painting by exploring the question of time: the near - invisible tiny dots made by the gun hover on the verge of existence, suggesting «a coming into being» when they accumulate with others; and by rolling the canvas up and down, Latham was able to make painting a temporal exercise in a process analogous to memory, aimed at exemplifying the experience of past, present and future.

Guyton's process is now implicit — any lay student of contemporary art knows that he feeds folds of primed canvas into his taxed and sputtering Epson printers — as are the conceptual and critical implications of that process and its resulting works: painting after the fact, postindustrial manufacture of gorgeously distilled canvases offering the retro payoff that comes of

For Aho, the process of painting binds the artist with the history embedded in the landscape, and puts him in spiritual touch with the soldiers — and painters — who came before him.

Following Abstract Expressionist practice, Oliveira found his subject in the process of painting, and sometimes that discovery was slow and difficult in coming.

He's been always intrigued by process and initially came to his current technique by recycling paint in order to save money and resources while in art school.