Sentences with phrase «painting technique onto»

Here is a video showing you how I work this furniture painting technique onto the table and maintain all of the layers.

On Tuesday night, she'll showcase work that that exemplify her knack for translating her meticulous sharp - focus oil painting technique onto the iPad — an experiment she encourages others to try.

Not exact matches

Then he'd paint cells grown from the patient's bladder onto the frame with a custom 3 - D printer — a technique Discover detailed in a profile of Atala last year.

Also called «ecaille,» this look mixes golden tones and warm browns, often using a balayage technique where the color is hand - painted onto your hair.

Frankenthaler, energized by Jackson Pollock's all - over method of painting, pioneered the technique of pouring paint onto unprimed canvas early in her career.

Frankenthaler developed her own technique of pouring diluted paint directly onto canvas, then manipulating it with mops and sponges to create vivid fields of color.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

Perfecting his computer - based technique into what he calls «frictionless drawing», blue monochromatic works on display demonstrate how these abstract and vector - like gestures are meticulously transposed onto canvas using acrylic, tape, UV ink and spray paint.

Pollock studied under Thomas Hart Benton before leaving traditional techniques to explore abstraction expressionism via his splatter and action pieces, which involved pouring paint and other media directly onto canvases.

Three Hirst «spin paintings» are included in the exhibition, because, as the gallery explains, they «point to the foundation of gestural abstraction, which places significance on techniques such as dripping, dabbing or flinging paint onto the surface of a canvas.

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.

With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas.

His fascination with technological methods for producing paintings is also evident in the 2001 television program Secret Knowledge, in which Hockney posited that the Old Master painters used camera obscura techniques to project images of their subjects onto their paintings» surfaces, leading to the photographic quality of Renaissance painting.

Done by staining diluted acrylic paint onto raw, unsized canvas — a technique Mr. Noland learned from Helen Frankenthaler — they consist of concentric circles in a variety of colors centered on a square canvas.

In the early 1960s, Pistoletto began making his famous series of Quadri specchianti (Mirror Paintings): sheets of polished inox steel, like mirrors, onto which he applied images he obtained through a photographic reproduction technique.

Lavender Mist was painted in Pollock's studio on Long Island when he had transitioned to his signature technique of pouring, flinging, and dripping paint onto unstretched canvas laid on the floor.

Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros.

A radical use of color is not the only thing that sets this work apart, Pollock's technique also made use of unprimed canvas, onto which he poured (as opposed to dripped) and soaked the paint into the surface.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Using a variety of techniques, Auerbach's paintings and prints rely on handcrafted seriality and pixel - like pointillism, bringing the issues of the digital world onto the canvas.

In addition to Laura Owens's untitled (2016), other works in the exhibition that combine digital and hand techniques to introduce network themes onto the canvas include a pair of untitled paintings by Albert Oehlen (2008) and Avery Singer (2015), and a series of Chat Paintings produced in oil by Celia Hempton in 2015 paintings by Albert Oehlen (2008) and Avery Singer (2015), and a series of Chat Paintings produced in oil by Celia Hempton in 2015 Paintings produced in oil by Celia Hempton in 2015 and 2016.

Using diverse materials and techniques — including African textiles sewn directly onto paintings — Self's work subverts and re-imagines images of Black women.

During this period, she developed her influential «soak - stain» technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

In 1940 Hofmann created his painting «Spring» (not part of this show) by dribbling, splashing and pouring paint directly onto his canvas, anticipating by several years the signature drip technique used by Jackson Pollock.

He traced the drawing onto a canvas, making more adjustments, and then painted the dots using a perforated metal screen as a stencil, imitating industrial printing techniques.

While influences of Jackson Pollock are clearly present within this technique of applying paint directly onto a horizontal canvas spread across the studio floor, Louis's work resists the rather active and gestural nature of Pollock's compositions and instead embodies a distinctly meditative quality.

In the 2001 television programme and book, Secret Knowledge, Hockney posited that the Old Masters used camera obscura as well as camera lucida and lens techniques that projected the image of the subject onto the surface of the painting.

It was from Avery that Rothko and Newman learned the technique of washing thin paint onto large areas of single color.

Coming on Avery's heels, Frankenthaler developed her «soak - stain» technique, in which paint thinned with turpentine is poured directly onto an unprimed canvas.

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.

Created by spraying paint onto canvas through carefully positioned swathes of gauze, this select series of works develops the innovative technique deployed in Stingel's silver paintings of the early 1990s, and distinguishes itself through striking color, richly variegated tactile texture and intricately detailed surface pattern.

In it, David presented a theory that the Old Masters relied on what he called camera obscura technique — a projection of the image onto the surface of the painting.

I chose them because they are, in many ways, the polar opposite of traditional mediums — a way to take very complex, age - old master's techniques like reverse painting and the glazing and layering of oil paints, exploding them onto modern mediums that speak more to current times.

Jackson Pollock, for example, inspired her to develop her own technique of «stain painting,» pouring thinned paint onto unstretched, unsized cotton canvas to develop her artistic visions.

Beyond doors, Hume has depicted windows, flora, fauna and Michael Jackson, all in his trademark technique of using commercial house paint poured onto aluminum panels.

But then Frankenthaler, though she never departed from what was soon to become her trademark staining technique, in which she poured thinned paint, initially oils, then acrylic, onto raw canvas, leaving the paint, blooming and thinning at the edges, to sink into the weave but remain luminous, wasn't an artist who often repeated herself.

Employing the old technique of «layer painting», Fomenko applies the practice in a modernized way and injects bright primary shades of acrylic paint onto the canvas, before awakening his subjects of surrealism with oils by using broad brushstrokes.

Mr. Kanovitz's technique was to project photographic images onto a canvas and paint over them, allowing them to guide the work in composition and scale.

Park's techniques included combining the use of brushes with palette knives, and one sees a lot of areas where paint has been scraped onto and off the canvases, as can be seen in Zachary, c. 1955.

Since the mid-1960s, Corse has developed an innovative technique that involves mixing acrylic paint with tiny glass beads commonly used in the white lines of lane dividers on highways and painting vertical bands onto the canvas.

From experimentation, accidents, and even repairing the fragile, sculptural elements of his paintings, Hollingsworth has recently come across a new technique in which he paints directly onto the plastic wrap of store - bought canvases.

During the 1950s, Frankenthaler developed that influential technique, in which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor.

Largely derived by chance, Frankenthaler was known for her technique of spilling paints onto unprimed canvases from an overhead position.

Mr. Onslow Ford shared the Surrealists» interest in dreams and the unconscious, and began making spontaneous paintings by pouring paint onto canvas in a process called coulage, predating Jackson Pollock's drip technique by a decade.

They stare out at the viewer with an uncanny, alien gaze, created by lavishly painting eyes onto the models» closed eyelids — a technique drawn from the «Doll Girls» community.

In these works he used the technique of soak - staining, applying thinned paint onto the canvas to create abstract fields of color, horizontal cloud - like rectangles, which pervade the picture space with their lyrical presence.

For both, he thinned his oil - based enamel paint before brushing it onto the canvas, adapting a technique he had learned from one of his former students, Helen Frankenthaler.

Canadian - born Ciara Phillips uses a semi-mechanical print making technique in which paint is pressed through a tightly meshed screen to transfer an image onto paper.

After he relocated to New York in 1985, he adopted print techniques that suited his gestural approach, such as monotype, where an image is painted directly onto a plate — in Jacklin's case, zinc plates that he inherited from the great American artist Robert Motherwell.

Her early art informel — style paintings quickly yielded to work that indexed the city's emergent Pop aesthetic, grafting its concerns with high - tech materials, synthetic color, and transfer techniques such as silk - screening and stenciling onto her commitment to militant feminism.