Sentences with phrase «then paints the shapes»

She projects these images onto walls or paper stretched like canvas, and meticulously draws then paints the shapes.

Not exact matches

In this morning's Pee Wee Artists class, kids learned about circles and ovals and then created a painted dog using the two shapes.

When they are your desired shade, take sponges that have been cut into fun shapes (duck, bunny, flower, etc.) and dip them into white paint and then onto the eggs.

You could also use plain blue construction paper and let them go crazy with the puffy paint and then cut them into cloud shapes later or leave the paper as is.

I decanted 6 coloured paints into the plastic cake container and cut out 3 butterfly shapes by folding the paper in half drawing half a butterfly and then cutting it out.

Shaping the Kecks» segmented mirrors was like painting sections of a landscape on individual pieces of plaster and then assembling them in a seamless mural.

Artisan Ashok Kumar of India handcrafts these earrings from a paste made of powdered coconut shells molded into shape and then hand painted.

I'll generally start with a palette or shape in mind and then the painting takes on its own life from there.

Then lightly trace a bunny shape onto the pillow and paint using Velveteen paint.

You sew or glue white felt cut into the shape of teeth to the hood and then attach a cardboard fin to the back; paint or cover the fin beforehand so it is grey as well..

Then I added my Shape Tape ™ is FrogTape ® and then spray painted over it with turquoise spray paThen I added my Shape Tape ™ is FrogTape ® and then spray painted over it with turquoise spray pathen spray painted over it with turquoise spray paint.

I give students time on their own to study the painting analyzing color, lines, and shapes and then use this discussion to determine mood and tone.

In this project students work in groups and outline their body shapes on a big piece of paper and then using magazines, sequins, patterns and paint and drawings students then collage into the body shape.

Students then further develop this into a 3D sculpture and make a construction mobile cutting a copy of the painting into shapes.

A further example cutting this up by pasting on cardboard a copy of the painting and then cutting this up in shapes and building a construction of form as a 3D sculpture A Construction of a 3D sculpture using cardboard to make a mobile or standing sculpture based on Cubism.

Then there are the «extreme groomers,» who turn their own pets into elaborate creations like zombies, flowers or even whole jungle scenes, transformations that can take months as hair grows, paint is applied, fur is braided or extended, and shapes are sculpted.

They also make all - natural paints from the local red, white and black volcanic rocks; they spin their works on a manual pottery wheel, shaping each piece with dried gourd shells and corncobs; and then dry their pottery alternately in the sun and in a wood - fired oven.

But then I'll do something intentional like painting a hard - edged geometric shape on top of an area of thick texture or heavy impasto.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Note that I've added the reflection for the boathouse by simply painting a rough, upside - down impression of its shape, adding a streak for a window, then dragging the paint downwards with the brush.

Then I become fascinated with how I can explore my first creative impulse and develop imagery, through the paint itself, associating shapes and experiences to enrich my work.

Sometime in 1940 Rothko makes his last figurative painting, then experiments with Surrealism, and eventually does away entirely with any figural suggestion in his paintings, abstracting them further and paring them down to indeterminate shapes floating in fields of color - Multiforms as they were called by others - which were greatly influenced by Milton Avery's style of painting.

Here she has glued standard penmanship paper onto stretched canvas to create an abstract shape, and then drawn and painted over this collaged ground.

I carefully make a tracing from the print out of the painting, and then I reproduce the shapes and colors, and paste them down on watercolor paper, which has the graded wash.

You can get all bent out of shape over the headlines in the newspaper but then think «there isn't much I can do about that» but I do have my painting, I can do something about that.

I think the paintings were always sort of anthropomorphic, and then I think the shapes themselves were able to take on those qualities in some way.

If a viewer has a working knowledge of maritime flags or, as in my case, an index of their meanings, then Mizù's geometric forms become more than visually pleasing shapes, as the painting actually spells out the title of the work.

Even the overall shape looks like the typical painting rectangle has become flexible and then bent into your loose polygons.

I hope it is not too grand to say that when looking at this painting I find that I am thinking first about what a strange thing this is but then about what a strange thing I am, that I can find many different ways of seeing such a «simple» arrangement of colour / shapes.

After applying a light color wash to the paper, Ossorio would draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.

And then my eye rests on the odd little cluster of triangular shapes towards the top centre of the painting which could be a painting all of its own, a painting within the painting perhaps, and then the upper pointing triangle takes me up and around the whole again.

He starts each painting with a layer of abstract sharpie drawings, then paints white shapes over the whole thing, and then adds in a full background of cities and scenes.

In 1947, Fine was asked by the collector Emily Hall Tremaine to make an exact copy of Piet Mondrian's diamond - shaped Victory Boogie - Woogie, then in Tremaine's collection (now in the Gemeentemuseum, The Hague) as well as to prepare a complete analysis of the painting, on which the artist had been working when he died three years earlier.

Families can visit O'Keeffe's works on view in American Legends: From Calder to O'Keeffe and then experiment with shapes and color to create their own paintings.

These texts were reprinted with an equivalent of «puff paint» or raised ink, which Chun then tore, reconfigured and hand - dyed to cover shapes he adhered to the surface of his orignal model, from which Mixografia then made a mold.

Once these have dried (which can take up to two weeks), Otero peels the oil paint off their surfaces with a set of «blades», then adheres their buckled compositions onto canvas, amending their broken surfaces with additional painted gestures, shapes and letters.

For the paintings in Point of Entry, Hollowell builds upon flat linen - covered panels by applying shapes carved from high - density foam that are then sealed with a mixture of sawdust and acrylic medium.

To create her paintings, she builds upon flat linen - covered panels by applying shapes carved from high - density foam that are then sealed with a mixture of sawdust and acrylic medium.

He would then select portions to be stretched up in irregular shapes as individual paintings.

The pigment is not painted within the outlines of the shape; instead it is layered thickly on to the paper, mixing in small amounts of turpentine, and then adding varnish little by little in a laborious process which lends physicality and depth to the two - dimensional works.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

These works are made in parts, each shape is drawn, cut, sculpted, sanded, and then finished with a variety of painted and collaged surfaces.

He then poured paint on the back of the work and shifted the canvas to create different shapes.

would draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.

As the image takes shape, the painting reveals it's dominant side and the canvas is then stretched revealing just one of many faces.

Striking for their hot, vivid, deep colors, their pierced or jagged forms, and their pulsating energy, these works were created using a wax resist technique — Ossorio would apply a light color wash to the paper, draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.

This leads visitors back to a large charcoal drawing, «Untitled No. 18» from 1958, where you can see him sketching out vague shapes; then to several of his collages placed around the room; and finally to his paintings, which suddenly register as paintings sprung from collages, with their juxtaposed elements functioning, as Ms. de Kooning puts it, like «action caught at an impasse» to create «an art of interruption.»

The artist Christopher Chiappa has always loved Swiss cheese, so when he was recently in a bout of traveling he would stop in delis wherever he was and order slices of it, place them down on pieces of paper, spray paint them black, scan the results, and then use a waterjet cutter to recreate the flat shapes, holes and all, in powdery yellow aluminum.

Then you take a step closer, and the image gives way to texture — painted dots like beads that shape their figure's faces, fingers, Afros, breasts, or penis.

In this painting, the colors and textures in a field of wild grasses are transformed into new shapes and brushstrokes, which subsequently undergo experimental development, taking on new visual meaning, in what then becomes the painting.