Sentences with phrase «paper on work surface»

Lay out a large sheet of non-stick baking paper on your work surface and dust with tapioca flour.

Place a piece of parchment paper on work surface and transfer date mixture to it.

To roll the dough, lay a piece of parchment paper on a work surface and lightly sprinkle with sorghum flour.

Place a sheet of parchment paper on work surface and lightly coat with nonstick spray.

Lay a large sheet of parchment paper on a work surface.

Place a piece of wax paper on your work surface, putting a few drops of water under the paper to keep it from sliding around.

Shape plantain mixture into 24 (3 - x 2 - inch) rectangles on a large piece of wax paper on a work surface.

Spread large sheet of wax paper on work surface.

Not exact matches

Place 1 disk of the cookie dough on a clean work surface and peel off the top sheet of paper.

On baking day, have a sheet of parchment paper ready or generously sprinkle a pizza peel with cornmeal for a work surface.

Lay a piece of parchment or wax paper down on your work surface.

Professor Lanciotti's recent work revealed that microorganisms died much quicker when placed on corrugated surfaces where they get trapped in the paper fibers and die due to a lack of water and nutrients.

Using your spatula, drop the sticky dough on a heavily floured work surface (when I have people coming over and want to keep my kitchen clean, I use baking paper which I can throw away with the leftover flour).

Place cotton towel or paper towel on work surface around where you will be cutting the dough.

Place a softened rice paper sheet on a clean work surface.

directions On a clean work surface, pat beef bones dry with paper towels and season with salt and pepper on both sideOn a clean work surface, pat beef bones dry with paper towels and season with salt and pepper on both sideon both sides.

To make each roll, simply wet a sheet of rice paper with warm water and lay it on a flat working surface, like a cutting board.

Working with one portion at a time, roll out on a well floured surface into a paper thin thickness.

If you can't get enough traction on your work surface, mist it very lightly with water or swab it with a damp paper towel.

Place a large sheet of parchment paper, plastic wrap, or foil on your work surface.

«We can control whether the carbon forms one or two monolayers on the surface of the material by manipulating the intensity of the laser and the depth of the melting,» says Jay Narayan, the John C. Fan Distinguished Chair Professor of Materials Science and Engineering at NC State and senior author of a paper describing the work.

Gerald Meehl, a climate scientist at the National Center for Atmospheric Research who was also an author on the paper, said this research expanded on past work, including his own research, that pointed to the Interdecadal Pacific Oscillation as a factor in a warming slowdown by finding a mechanism behind how the Pacific Ocean was able to store enough heat to produce a pause in surface warming.

«Current techniques for assessing an individual's age at death rely on reviewing the wear and tear on a skeleton's joint surfaces,» says Ann Ross, a professor of biological sciences at NC State and corresponding author of a paper on the work.

«Our work highlights that there exists another set of important points on the potential energy surface of a given system, namely the BBP, which needs to be taken into consideration for mechano - chemistry applications,» said Wolfgang Quapp, a co-author of the paper who added that BBP is a new concept in mechano - chemistry.

Working on a covered surface or parchment paper, shape the soap into a pumpkin with your hands the same way you would clay.

On a working surface, fold each filo pastry sheet like a paper fan.

Since the piece has a base, to get it completely flat on the paper, pull the paper and the wood piece to the edge of a table or work surface.

Front matter, including Table of Contents and Preface Introduction: The School Zone SECTION ONE: FOUNDATIONS Chapter One Time to Learn Chapter Two Time, Growth, and Learning Chapter Three Using Time Wisely SECTION TWO: OBSERVATIONS Chapter Four Floating on the Surface in Seventh Grade Chapter Five On Your Mark, Get Set... Seven Years Old in First Grade Chapter Six Working to Be «All There at Once» SECTION THREE: TRANSFORMATIONS Chapter Seven Changing School Time Chapter Eight Changing the Structure of Time in Classrooms Chapter Nine Changing the Use of Time in Classrooms Chapter Ten Time to Teach Afterword: Heros in the Classroom Appendix A: Standards Appendix B: The Responsive Classroom ® Notes References Acknowledgments Index About the Author Northeast Foundation for Children, 1999, 336 pages, paper ISBN: 1 -892989-01on the Surface in Seventh Grade Chapter Five On Your Mark, Get Set... Seven Years Old in First Grade Chapter Six Working to Be «All There at Once» SECTION THREE: TRANSFORMATIONS Chapter Seven Changing School Time Chapter Eight Changing the Structure of Time in Classrooms Chapter Nine Changing the Use of Time in Classrooms Chapter Ten Time to Teach Afterword: Heros in the Classroom Appendix A: Standards Appendix B: The Responsive Classroom ® Notes References Acknowledgments Index About the Author Northeast Foundation for Children, 1999, 336 pages, paper ISBN: 1 -892989-01On Your Mark, Get Set... Seven Years Old in First Grade Chapter Six Working to Be «All There at Once» SECTION THREE: TRANSFORMATIONS Chapter Seven Changing School Time Chapter Eight Changing the Structure of Time in Classrooms Chapter Nine Changing the Use of Time in Classrooms Chapter Ten Time to Teach Afterword: Heros in the Classroom Appendix A: Standards Appendix B: The Responsive Classroom ® Notes References Acknowledgments Index About the Author Northeast Foundation for Children, 1999, 336 pages, paper ISBN: 1 -892989-01-8

On view at Tibor de Nagy Gallery, Walp's new works in oil on gessoed paper, portray simple still life items resting on a surfacOn view at Tibor de Nagy Gallery, Walp's new works in oil on gessoed paper, portray simple still life items resting on a surfacon gessoed paper, portray simple still life items resting on a surfacon a surface.

The presentation includes a selection of works on paper along with many never before exhibited early works that offer viewers a historical overview of Lee's art and provides a rare opportunity to directly follow the disparate art resulting from Lee's extensive experimentation with theme, surface and technique.

The artists participating at the Grundy Art Gallery are Allison Katz, who displays a trilogy of works comprising painting, sculpture and print; Amy Stephens, whose practice centres on reclaiming objects and images from the native landscape; Ruth Beale with new large - scale works on paper, drawing on the British tradition of satire to critique current events; and Rebecca Birch, who brings an interactive installation investigating the politics of surface.

Using a similar technique to his vast site - specific installation Pickett's Charge, which is on show at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., until November 2018, he entombed the horizontal ropes in the paper before re-revealing them through tearing and abrasion of the work's entire surface.

This result in a kind of cotton - like surface in the larger works on paper, called Structures, and a more purely abstract surface in the smaller ones.

His breakthrough works of the mid-1980s were made with a rubber roller incised with a pattern that could then be transferred to create an all - over pattern on a surface — often aluminium or rice paper.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

The drawings in her new body of work focus on objects that might be described simply as surfaces; such as paper, cloth and walls.

Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.

Artists may work in a variety of techniques: often they mix colors as they pool, still wet, on the surface of the paper.

Watermarks were an unexpected thread in a number of works on display and lent marvelous results: Bochner's Language is not Transparent (1999)(watermarked translucent abaca on black cotton) recalls investments in language as an artistic material and support, a proposition mirrored in the materiality of paper; while Kentridge's Anne (2009)(watermarked cotton) is displayed in a lightbox illuminating its normally discreet surface.

Even the works without collage elements from this time have a feeling of paper cutouts, the paint laid on thickly and in blocks across the surface.

Like much of Akunyili Crosby's work, this piece is wrought on paper, its painted image scored by numerous photo transfers that dissolve the painting's surface even as its muscular linearity and bold colors work toward compositional unity.

Two triptychs are executed on Yupo, the «green» synthetic paper she has expertly exploited for several years, and two large scale acrylic works on raw canvas, a surface she hasn't used much since graduate school.

Along with others active at this time, these three artists questioned, for example, whether a painting had to be a flat, rectangular object mounted on a stretcher, affixed to a wall, and viewed from one vantage point; that paper was only a surface to be painted, printed, or drawn on, rather than a medium for creative manipulation in its own right; or that there was only one way for a work of art to be installed.

The works in the exhibition see the artist testing out pastels, graphite, charcoal, conté, pencil, ballpoint pen, and enamel on surfaces ranging from Chemex coffee filter paper and plexiglass to anodized aluminum and matte Mylar panel.

The show also includes graphite works on paper and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or white surfaces.

Here are a few of the most significant works on paper to surface at auction in recent years.

In a series of works started in 2012 Thomas Ruff essentially takes an idea that was first introduced my artists like Man Ray, Laszlo Moholy - Nagy who simply placed objects of various shapes, textures and opacities onto photographic paper and captured their physical qualities through the optical traces they left on the light sensitive surface of the paper.

In fact, in 1967, Ettore Sottsass designed the poster for a show of Piacentino's work at Gian Enzo Sperone's influential gallery in Turin, while the use of marbled paper to create a decorative surface on a Piacentino piece from 1969 (Marbled Vehicle), prefigures Sottsass» subsequent love decorative laminate finishes.

It's not the only significant work on paper to surface in recent years

The wide variety of materials that constitute the exhibition (including collections of photographs, slide projections, periodicals, recent film and video installations, sculptures, and printed works on paper) create numerous situations within which to consider not only the materiality of images and the technologies that form their reception, but also the conflicted social history that lies under their surfaces and is inextricable from their origins.