Sentences with phrase «painting your work surfaces»

In the same manner when looking at the nature of the paintings worked surface, the imagery's style of rendering, or the scale and impact of the works one must consider multiple traditions.

How about spray painting your work surfaces, cupboards and doors?

Not exact matches

Purchased plain white T - shirt of good quality (in grandma's size and toddler size) Different colors of fabric paint Old plastic containers Flat work surface covered in newspaper

Please make sure you have your work surface covered very well as those types of paints do not come out.

Mr Lu added: «Our paint worked extremely well for a variety of surfaces in tough conditions which were designed to simulate the wear and tear of materials in the real - world.

«It's an incredibly clever natural solution to this problem of how to deal with a water barrier on a surface it will change the way we think about developing bio-inspired adhesives that are safe and already optimised to work in conditions similar to those in the human body, as well as marine paints that stop barnacles from sticking.»

What we aimed at was an innovative coat that works differently from conventional intumescent coatings and can stick to the steel surface for as long as possible under high temperatures, and yet has durability and weather resistance under normal conditions without a need for a top coat of paint.»

There are two classes of work: the paintings, which usually occur in caves and shallow shelters, and incised boulders and other surfaces that are found in the dry interior.

Working with the museum's art conservators, Walton and his collaborators used non-destructive and non-invasive techniques to extract information about the paintings» underlying surface shapes and color.

An international partnership of the Northwestern University / Art Institute of Chicago Center for Scientific Studies in the Arts (NU - ACCESS), the Art Gallery of Ontario (AGO) and the National Gallery of Art, Washington, has used multiple modes of light to uncover details hidden beneath the visible surface of Pablo Picasso's painting «La Miséreuse accroupie» (The Crouching Woman), a major work from the artist's Blue Period.

Place sheets of plastic underneath your scarf to protect your work surface from any paint that might seep through.

Every work surface reveals layers and layers of colour — the result of countless painting projects.

The better you paint a surface, the more work you'll have to distress the piece!

This traditional technique is simple to achieve, the trick is to work with still - wet paint and scratching your design in the surface to reveal the underlying colour.

The multi surface paint really does work well on any surface!

I would use fine / medium grit sandpaper or very fine steel wool (SOS or Brillo Pads work well) over it to remove the rust, clean the surface well, then use chalk paint over it.

They sought inspiration in the era's art, specifically the work of the photo - realists, who painted photographs in a style that is both hyperreal and at one remove from reality — evoked by the variety of reflecting surfaces seen in the film — and the op artists, who deployed contrasting visual elements to create vibrating surface tensions on a single plane.

A bookshelf becomes a standing work station, a beanbag transforms into a reading corner, and whiteboard paint turns any surface into a writing opportunity.

The CRC «green can» brake cleaner works really well for all intents and purposes and can even be used (most) painted surfaces (IE: clean tree sap off of body paint).

Just about every surface viewable to the naked eye was touched: the front of the car has a beautifully fabricated cockpit made to look like the Falcon's, while custom body work and a detailed paint job mimic the wear and tear the ship has taken across its time in the Star Wars universe.

Petri has attempted to render pixel art to look as if it has been painted onto a wooden surface, and for the most part it works really well.

You can see around this apple that I started fairly pale and for the darker patches to the left I was using the technique the encountered at the beginning of working undiluted paint into the surface with a turps soaked brush.

The painting is an example of Phelan's early work which sought to reconcile painterly abstraction with process based minimalism, but in this context the cut surface feels more desperate, as if the painter were punching a hole through which to breathe.

Painting on various materials and surfaces, including - in this case - the female body, his work shows a real passion for the artistic medium.

Ruth's fascination with layering — of placing transparent glazes over the surface of a painting — has become a signature of her work.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

Rose Sharp writes that Goodman's oeuvre «is a little bit difficult to sum up, perhaps, because over the course of this long and productive career, her creative output has vacillated between painting and drawing (with forays into three - dimensional constructions); smooth surfaces and chaotic buildup on canvas; and intimate small - scale works and jaw - dropping large paintings that grab your eye from across the room.

Elaborate processes were involved as he extended his painted surfaces outwards, collaging various elements and using high and low tech in a very personal way to produce the work.

Although Marden paintings have delicate surfaces that have to be carefully handled, the Ronald Davis resin paintings are easily chiped if set upon their edges or shipped without correct pading and many of the other works tend to be large, the transportation and installation of these works do not require any rigorous construction or rigging.

In all of the works, the articulation of each form — whether a paint - streaked surface or carefully cut out paper — describes a particular phenomena of time and motion, while giving concreteness and permanence to fleeting traces of human action.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Much of their best work, including that of Man Ray and even at times Marcel Duchamp with their haunting surfaces and assemblage, actually filled the creative role of painting, only in other media.

Noting that Stella's painting is contemporaneous with other uses of paradox of a politically difficult sort such as Godard's right - wing hero who quotes Lenin in Le Petit Soldat, made around the same time, one might also draw some conclusion from Stella's great work being one of negation of an elaborate sort, including of traditional aspects of oil painting such as its surface.

Larry Poons is acclaimed for his inventive, quirky color work and his zeal for paint and surface.

Totally missing the point, in my view, of the work's use of a subdivided black to activate the space the painting — as both surface and object — shared with its viewers.

So has the work of Hilma af Klint, whose paintings, along with those of Agnes Martin, share with Hackett's a light touch and dry surface that combines thin paint application with geometric drawing strategies.

Employing a time - based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface.

For all the materiality of their surfaces — Reginato works in enamel — the paintings are, as the exhibition's title underscores, fictions.

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

In that period I was beginning to consider painting with oil and both Jensen's scraped, palette knifed surfaces and the surfaces of Hartley's late works, painterly and sculptural also, even when relatively thin, were both helpful mentors in my transition to this difficult rich medium.

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

The final works of the blue series anticipate the black paintings; first perceived as a uniform color surface, they slowly yield to the eye's insistence, revealing a subtly inflected chromatic pattern.

The surfaces of these wooden works are variously inscribed with watercolor, enamel, and acrylic paint, lacquer, oil, colored pencil, and graphite — materials that they share with the drawings that trace the evolution of individual pieces.

For this new body of work, the artist has translated her earlier paintings into ASCII, a character - based image encoding system developed in the 1960s, and then, using laser stencils, applied the data to gesturally - painted surfaces.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

It's a fitting parallel for an artist whose work often draws its strength from its surroundings, letting light and shade dictate the final presentation of the painting's surface.

Each provides an arresting autonomy that focuses attention onto the unique interaction of paper, surface, and paint; as a group, the works form subtle relationships to one another and bring forward issues of horizontality and verticality, recurring shapes, and interacting arrangements of color.

They have an intimate relationship with the painting process and we the viewer have a possibility of sharing that intimacy as the work does not shut us out or bounce us back off a hard surface; it lets us in.

Unlike his figurative work, these paintings are larger in scale and made using a much different technique, utilizing a broom to paint and later flooding the surfaces with chlorine and water.

She uses odd humor, interior logic, and palimpsest - like surfaces — evidence of her working everything out on the canvas, to create paintings of abstract characters in imaginary worlds.