Sentences with phrase «solid paint look»

Not exact matches

UM's 4 games thus far have been: solid opening win; buzzer - beater walkoff after mostly being outplayed all game; no - doubt rout that was over by halftime; and a nail - biter of a grind where they couldn't hit a damn thing outside the paint despite plenty of wide open looks.

Their 4 games thus far have been: solid opening win; buzzer - beater walkoff after mostly being outplayed all game; unmitigated rout that was over by halftime; and a nailbiter of a grind where they couldn't hit a damn thing outside the paint despite plenty of wide open looks.

Look for furniture made of solid wood and with a low emitting finish, go for paints that are low on VOC and so on.

The 30» pink BCP Kid's Guitar features a solid wood body highlighted by a pink paint scheme that children will love to look at.

Once you have achieved a solid, finished look with the chalk paint, apply 1 to 2 layers of the Polycrylic.

Keep the negative look minimal by taping off the base and painting your upper nail in solid royal blue.

This is an easy project and you can paint the shapes any way you like, you could make them actually look like birds and flowers, you could just paint them solid colors, you could decoupage scrapbook paper onto them, the possibilities are endless and it would be a perfect sweet Easter decoration.

I love the layered look and don't think I can go back to just painting a solid color and walking away.

Delicate gold leaf paper looks elegant when applied to plain ornaments painted in a solid color of your choice.

I have painted 2 pieces that I didn't want to distress because I wanted the solid color and a more masculine look for my boys.

I liked the Goonies cover too, but if you look you'll see no solid black on the cover, just real colour, because it's a painting, not a digital painting.

was something — anything — for my senses to latch onto; it didn't feel like watching a cinematic masterpiece as much as it did spending 90 minutes looking at a finger painting pummeled into a solid brown smudge by an overzealous child.

Since 2008 doing approx 1000 miles per year, I put it through an mot on the 10th January, it passed without advisories;; The underneath is very solid indeed and doesn't need any work, the current paint was done approx 7 years ago to a good standard but is not perfect, when it had a change from Albert Blue (traces of it around the battery boxes) to the current black;; It still has the US import sticker on the left side door post, the original chassis plate and the chassis stamp on the bulkhead are all there;; It drives very well, I've driven it for circa 40 miles with no problems;; It has 15» Fuchs alloys and the spare is a chrome steel wheel;; The rear end has been «modernised» at some point, I personally would remove the rear Porsche reflector and fit an original panel and bumper stops to get it back to the original pre impact bumper look, I could do this for you if required, cost circa GBP 800;; The seats have been changed to 80's leather recaros and the door cards to a later style, again I'd put some period seats in and back date the door cards if required at cost price;; The 80's recaros are worth good money so shouldn't be too much further expense if they were sold separately;; Further information to come but please contact me if you have any queries;; In summary, a really good looking classic 911Targa, that is great value and can be enjoyed as is, or improved for not a lot of money;;

Electric engine and trunk lid release, Multi function display, On board computer, Variable PAS, 4 speakers, Porsche CDR - 24 CD / radio, 2 speed front wipers + intermittent wipe, Aspherical driver's exterior mirror, Automatically extending split rear spoiler, Body colour bumpers, Body colour electric / heated door mirrors, Chrome plated stainless steel tailpipes, Coming home function, Door entry guards in stainless steel, Dual tailpipe, Electric windows one touch open / close, Front fog light / position light, Green tinted heat insulating glass, Heated washer nozzles, High level LED brake light, Solid paint, Windscreen with grey top tint, Alcantara handbrake / gearshift, Alcantara roof lining, Alcantara steering wheel rim, gear lever and handbrake grip, Coat hook integrated into back seat, Continuously variable dimming interior light, Cup holders, Door entry guards with Cayman S logo, Electrically adjustable backrest, Floor mats in interior colour, Footwell illumination, Front door storage bins, Height / reach adjust steering wheel, Integrated head restraints, Interior orientation lighting, ISOFIX child seat preparation + airbag deactivation, Leather finish on door handles, Leather interior in standard colour, Lockable glovebox, Luggage retainer on engine cover, Porsche crest embossed in headrests, Sports look pedals with rubber insert / stainless steel frame, Storage compartments in front section of centre console, Storage pockets in backrests of front seats, Sunvisors with illuminated vanity mirrors, Interior design package (in matching exterior paint colour)- Cayman, 3 point automatic seatbelts, ABS+ABD, ASR, Driver / Front Passenger airbags, Motor Slip Regulation - Engine Drag Torque Control, Passive occupant restraint system, POSIP for driver and passenger, Red painted brake calipers, Seatbelt pretensioners with load limiters, Side (thorax) airbags, Alarm system with interior protection, Remote control central locking, Transponder engine immobiliser, Porsche Active Suspension Management, Porsche stability management (PSM), Black instrument dials, Numbered plaque on glovebox lid, Rear centre console painted black, 19» Turbo alloy wheels, Sealing compound and compressor kit

The trim package that I selected offered a solid one color paint job, some of the lesser trim packages of this vehicle have plastic gray molded looking bumpers and baseboards, that in my opinion look tacky.

1969 351ci Windsor V8 Engine 650 CFM Carb Toploader 4 - Speed Manual Transmission Ford 9» Rear End 3.50:1 Ratio Posi Trac Front Independent Suspension New Ball Joints New Radius Bushings Core Support Looks Great, Not Beat Up Shock Towers are Solid w / Tag Rear Leaf Spring Suspension New Shocks New Dual Exhaust w / Jet Coated Headers Front and Rear Drum Brakes Billet Distributor Rebuilt Alternator Newer Radiator New Gas Tank Parking Brake Is Enabled RARE: Only 1 of 351 Sold w / this Color Combination Hood is Flat Black Like From Factory Hood is Flush w / Fenders Hood Scoop Hood Pins Front Chin Spoiler Gold «Mach 1» Tape Stripe Down Side Door Lips and Jambs Look Great Original Door Tag Replaced Weather Stripping All Around Rear Window Louvers Rear Trunk Spoiler Original Trunk Floors and Paneling Chrome and Stainless are in Great Condition Undercarriage Looks Great ORIGINAL Red Oxide Painted Underbody Has Been Freshened Up (we have pics) Drop Downs are in Great Condition Super Straight Frame w / No Jack Damage New Floor Plugs 14» Style Steel Wheels Front Tires: BFG Radial T / A 215 / 70R14 Rear Tires: BFG Radial T / A 225 / 70R14 Factory Appearing White Interior is Astounding Bucket Seats w / Fold Down Rear Seat Center Console Floor Shifter Seat belts w / Shoulder Belts Headliner is Tight Dash Pad is in Great Shape Gauges are Nice and Clear Original Steering Wheel recently restored A restored Mach 1 with a Ford 351CI Windsor V8 and a 4 speed top loader.

This looks like Sonic is the only 3d thing in the game, while the back grounds are just solid paintings, like a DS game.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Many of his canvases display a restrained use of color which give specific direction to the solid - looking paintings.

In this new series of aluminum pumpkins the surface of the pumpkin becomes a mirror punctuated with holes that allow the view to look through the sculptures, which are painted in a number of solid hues.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.

Zawadski's four colored solids in painted concrete are at just the right scale so they flicker between looking like minimalist abstractions and Oldenburgian children's blocks.

In the commercial sector this spring, David Zwirner gave us a solid, truly museum - quality, showcase of outsider art («System and Vision»), while two of Gagosian's New York spaces were turned over to MoMA curating veterans: painting supremo John Elderfield and photo doyen Peter Galassi, each of them looking at artists» depictions of the studio.

With their smooth exteriors and vivid, sharp colors — the paint is automobile lacquer — these roughly ovoid objects look solid from a distance.

The phone is made out of a Solid block of aluminium (6 - layer paint system for a seamless ceramic look) with an Android One branding on the bottom.

The metal frame on the side is the same, rock solid and painted in the same color as the back panel is, so that it adds to the good looks.

Make sure the paint is still wet when you remove the tapes because after the paint has dried it can fall off in solid form which would not look good after the finished look.

Make costume gauntlets out of foam and paint them to look like solid metal, including a free pattern for these Lord of the Rings Nazgul or R...

I briefly considered painting each ornament and sign in multiple colors, but I decided that I'd prefer the look of solid blocks of color.

I wanted the painting to be a little more abstract than picture - perfect, so I painted the inside of the diamonds solid, then feathered some paint outside the edges to give it a messy look.

Looking back, I could have probably faux painted the existing solid marble... but I like the travertine and I like the «solid» look!

Get the look Buy now: Camargue Solid Oak Dining Chair, # 189, Oka Buy now: Walls, painted in Farrow & Ball Parma Gray, # 60 for 2.5 L, Homebase

I painted her for The Vintage Bazaar quickly with Miss Mustard Seed Milk Paint in Shutter Gray as I thought it would look «found» with solid milk paint.

Made to a high standard being carved from solid walnut wood and painted by artisans to create that original Parisian look.

For a look that's punchier than solid color, but less permanent than wallpaper, personalize walls with a painted pattern.

These calming and sophisticated look can break up the solid painted walls and pillows of a modern interior.