Sentences with phrase «see her paint layers»

On the back of the mirror you'll see a painted layer, which is usually gray in color.

Not exact matches

I thought it would be fun to see if I could actually apply layers of paint to my jars, and then strategically take it off for a vintage and shabby look.

Since the Selecta wooden toys are stained and not painted, they do NOT chip like some other toys we have seen that are heavily coated with yucky paint layers.

«If the top layer [of paint] were completely undamaged, it would be impossible to see this,» says Ian McClure, an art conservator at Yale.

If they made any paintings on the cave walls 100,000 years ago, calcium carbonate deposits would have obscured them, so the team plans to beam X-rays through the layers to see if our ancestors left traces of loftier artistic ambitions.

For this DIY stool you will need: A table A wooden board Extra thick foam Layer of flannel Fabric Cord Covered buttons Twine Screws Equipment: Metal Cutting Saw (or grinder) Jigsaw Drill Needle mattress Sewing machine (Optional: If you want to paint the base of the stool you will also provide material for sanding metal and spray paint)

Well, lately I have been seeing all kinds of beautiful, interesting painted furniture pieces with ombre finishes and multiple layers of color and all kinds of fun texture.

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

If you were using a paint color other then white and were going to sand to distress, though... you should not use Kilz or any white primer since you would see the white layer in between the wood and the paint color when you sand.

Spackle is white and you would see this as a layer color under the paint and between the distressed wood.

Different mixed media painting techniques, using glue, string, card, wax, paper to manipulate and to create texture with acrylic paint Looking at famous artists like Jackson Pollock, Frank Auerbach, David Bomberg, John Hoyland and Howard Hodgkin Resources: Acrylic paint, Sponges, sticks, large and small paintbrushes, credit card, string, glue, Punchinella, kebab sticks batik wax, sand, tissue paper, scrap paper and glue guns, Creating a number of different textures with acrylic paint and see what other mixed media layering one can achieve with chalk and oil pastel as well to layer over the acrylic paint.

The GranTurismo MC Stradale Centennial Edition seen in the images features special three - layer paint finish of Rosso Magma colour.

A layer of paint can be seen peeling from under the front bumper, and the upholstery and well - worn driver's seat show signs of spirited driving.

At Cooper Union, Braque was considered the best painter, and he painted dry, in layers, but when I saw Pollock I thought that his paintings weren't exactly wet on wet, but it's much more direct painting.

He said, «I don't understand» — because what I was doing was I would make a painting and then I would let it dry and then paint over the whole thing; I wouldn't sand it down, therefore you would see all of these passages and the layers of gesso over oil paint, which, God knows what would happen now.

While I haven't seen the show or experienced her paintings first hand, in photographs the work displays a range of sophisticated color palettes and color relations, layerings of transparent color, that match the work of some of the best colorists including mitchell, frankenthaler, matisse and deibenkorn.

But when seen up close, what look like Impressionistic brushstrokes reveal themselves to be tiny but precise indentations, carved into surfaces that have been built up with dozens of shimmering layers of acrylic paint.

My respect was deepened by seeing the layers in the painting's palimpsest, always mediated by curtains of white in various degrees of creaminess and brilliance.

Conversely, I once saw a very small painting by Jake Berthot, a pocket - book - size picture that was a complex layering of different greys with some wonderful reds breaking through the field and also at the edges of the canvas — it seemed like I was looking at something almost infinite in its dimensions.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

Instead of the translucent washes of faint color seen during earlier periods, Martin experimented with a palette of muted greys, layering paint to create robust, opaque surfaces that serve as a bridge between her early and later works.

They feel stressful and cathartic — it's refreshing to see figurative painting that's smart but doesn't mask the artist's hand in layers of irony.

He painted in thin, layered washes of color that seemed to glow from within, and his large - scale canvases were intended to be seen at close range, to that the viewer would feel engulfed by them.

One can see his hand on video, applying thick daubs of paint — which just happen not to match the thin layers of color and peeling paper on canvas.

Between 1959 and 1960 Polke completed a glass - painting apprenticeship, an experience that contributed to his lifelong attraction to transparency and layering, with many of his later paintings utilising see - through plastics or being painstakingly built up using strata upon strata of found imagery.

His undertaking «to see people as they really are» was galvanised in the aftermath of 1989 events and, alert to the legacy of Chinese Socialist Realism, his compositions are painted with loose, casual brushstrokes and layered with meaning.

The energetic and open brushwork, with its all - over rhythm and luminous density built from layers of translucent colour, relays the influence of American artist Sam Francis, and the Abstract Expressionist paintings he had seen exhibited at Tate in 1956.

Physically moving around a black - on - black painting of a cubic grid will reveal layers of optical illusions, while simply blinking when standing in front of a canvas covered in a complex navy - and - white pattern tricks the eye into seeing an oscillating, three - dimensional piece of art.

From far away, his paintings look like collage, which makes them all the more impressive when you walk up close and see the paint hardened and layered into and on top of one another.

Each builds through repetitive mark making — the layering, stitching, looping and twisting of drawing materials, paint, or fibers to create slowly seen, contemplative, compressed spaces.

The artist's layered, tender paintings consider the history of being seen and touched by black women

These original pieces, Kadar's paintings of expression, are then «negated and disenchanted» by a long process of layering and breaking down to become what we see hung on the walls of galleries, his hole - y, three - dimensional, deconstructed post-paintings.

Layers of previous activity can be seen, for instance, beneath the surface of The Dark Lady, 1947/85, that are visible yet not convincingly appropriated into the painting's completion — not even in the very late revision as reflected in the double date.

One can almost see your strokes as a kind of allover calligraphy, and there is something about the space in some of your paintings that seems to build into a space like, for example de Kooning's ribbons of color that are layered and overlapping, and working with and against gravity.

Often beginning with a charcoal drawing, and gradually building up layers in oil or tempera, Reyes paints blocks of color that appear photorealistic when seen from a distance, but become more abstract and gestural upon closer inspection.

Printing patterns (using Western oil colors) on top of the landscape traditionally used in Asian paintings (using water - based colors) transforms the masculine initial layer, now seen through a feminine veil.

Lanyon wanted to do a great deal all at once, to invest the hard - fought layering in his paintings with the layering of the personal, the historical and the phenomenological he saw as inherent in the landscape.

At the Whitney he brings together his own works, alongside historical photographs, sculptures, paintings, drawings, film and video from the Whitney's holdings and those of other public and private collections — all presented within a layered exhibition design by Mauss that allows for the works to be seen in a new light.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

His undertaking «to see people as they really are» was galvanized in the turbulent years of the 1980s and, alert to the legacy of Chinese Socialist Realism, his compositions are painted with loose, casual brushstrokes and layered with meaning.

The piece comprises layers of inkjet prints on acetate — a door with an «Audience Entrance» sign and what could be seen as pulled blinds or lined notebook paper — as well as paint and solvents.

When the paintings are viewed together in the gallery, optically dense geometric patterns are seen in relation to flat monochromatic surfaces, photographic images, or faint contours disappearing under layers of luminescent diamond dust.

One painting, owned by the Tate, is shown alongside close - up photographs of details seen under ultraviolet light, revealing the complex layerings and reworkings the artist subjected his work to.

JBB I would say that I start paintings with a vague idea of what I want - whether it's based on previous paintings I've made or something I've just seen in a museum, in the subway, or on the street - but this idea, this first layer, is almost never present in the final work.

Liebman remarks: «Every decision I make I want there to be a formal reason and another level of meaning, so it works on multiple layers... When I see the paintings, I can't help but see them in reference to the original image, but the viewer doesn't necessarily have that.

Seeing what the paint can do on its given surface, retraction of paint, over layering, scratching in, working wet, into wet.

The paint is matte and, in some areas of the work, you can see where she has added another layer of color over a shape to readjust its edge or to change the hue.

Viewers got to see Hayuk's colorful, layered weave paintings that balance between tradition, psychedelic, strict geometry and abstraction, Revok's abstract geo - based works inspired by patterns and waste materials from urban environments, Peterson's signature b / w visions of power struggles and conflicts in the society, and Deiana's meticulous ball point pen on paper works that create abstraction out of textures, TV static and other everyday occurrences.

We see areas of detail and focus: a perfectly rendered water tower, windows, and even more appropriately scaffolding emerge through the layers of paint.

«Even though her entire oeuvre can be seen as an extended exploration of the formal principles of art, in her work — and its presentation — she takes very seriously the affective possibilities of painting, cuing color to emotion and layering onto the nonverbal realm the visual jokes and humor inherent to cartoons and comics,» writes Molesworth.