Flat geometric bars or grids, often drawn in pencil on 6 - foot square canvases, are washed in
thin oil paint.
Miró pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in
thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery.
Frankenthaler began her departure from Pollock by
thinning her oil paint with turpentine and then pouring it directly on to the bare canvas.
While
thinned oil paint tends not to be as brilliant as stained acrylic, Bush's loose and casual application — usually with a brush — enlivened the surface, giving what became known as his «thrust» and «sash» paintings their characteristic warmth.
In a breakthrough development, she poured
thinned oil paints onto raw, unprimed canvas to suggest the Nova Scotia landscape.
Thinning his oil paint, he taught himself how to use it with the same sense of fluidity that he'd known with watercolor and that he was learning to experience with ink.
Created using only
thinned oil paint, and his lung capacity, Carey uses the process to focus on «the beauty and spontaneity that exists in every breath.»
To return to the human element in art, I use only my breath and
thinned oil paint to compose my work.
She had previously been using turpentine -
thinned oil paints to create her seminal soak - stain paintings, but she became dissatisfied with the way the oil paint interacted with her unprimed canvases.
Rather than using paint thickly and opaquely so that it sits upon the surface of the canvas, Frankenthaler
thinned her oil paint with turpentine to the consistency of watercolor.
In these works, the artist
thinned oil paint with turpentine to the consistency of ink and spontaneously let the work, in his words, «pour out.»
Frankenthaler's invention of soak - stain, which involved pouring turpentine -
thinned oil paint (and later, watered - down acrylic) on a flat, untreated canvas, opened doors to the next big thing, Color Field painting.
Working with a large canvas on the floor, the artist
thinned her oil paints with turpentine and poured directly onto the canvas.
With no preconceived endpoint, Zinn begins by layering
thinned oil paint onto aluminum panels.
This work has long been recognized as an icon of American art and as a milestone that changed Frankenthaler's own work by means of new technique: she poured highly
thinned oil paint from coffee cans directly onto the canvas, as if she were drawing with color.
After roughing in a few charcoal marks as an initial guide, she poured highly
thinned oil paint from coffee cans directly onto the canvas, as if she were drawing with color.
Not exact matches
Use a pastry brush to
paint a
thin layer of melted butter or
oil onto the surface of the double layer filo rectangle.
After all,
paint thinner is traditionally heated flaxseed
oil.
She should use only water - based
paints and stay away from
paint thinners which are only used for
paint brush cleaning with
oil - based
paints.»
Toluene is naturally found in crude
oil, and is used in products like
paint thinner, hair dyes, and nail polish.
Accepted items include, pesticides, fertilizers, pool and household chemicals / cleaners;
oil - based
paints, spray cans;
paint thinner, stripper and solvents; batteries (lead acid & rechargeable);
oil, gasoline, kerosene, antifreeze; and mercury (thermometers, thermostats, metal).
Accepted items include, pesticides, fertilizers, pool and household chemicals / cleaners (limit 2 gallons or 20 pounds);
oil - based
paints, spray cans (limit 10 gallons);
paint thinner, stripper and solvents (limit 2 gallons); batteries (lead acid & rechargeable);
oil, gasoline, kerosene, antifreeze (limit 10 gallons); and mercury (thermometers, thermostats, metal).
Erie County residents can drop off the following materials: pesticides, fertilizers, pool and household chemicals / cleaners (limit 2 gallons or 20 pounds);
oil - based
paints, spray cans (limit 10 gallons);
paint thinner, stripper and solvents (limit 2 gallons); batteries (lead acid & rechargeable);
oil, gasoline, kerosene, antifreeze (limit 10 gallons); and mercury (thermometers, thermostats, metal).
Accepted item are: pesticides, fertilizers, pool and household chemicals / cleaners,
oil - based
paints and spray cans,
paint thinner, stripper and solvents, batteries (lead acid & rechargeable,
oil, gasoline, kerosene and antifreeze and mercury (thermometers, thermostats, metal).
• Pesticides, fertilizers, pool and household chemicals / cleaners (limit 2 gallons or 20 pounds) •
Oil - based (not latex)
paints, spray cans (limit 10 gallons) • Paint
thinner, stripper and solvents (limit 2 gallons) • Batteries (lead acid and rechargeable, not alkaline) •
Oil, gasoline, kerosene, antifreeze, automotive fluids (limit 10 gallons) • Mercury (thermometers, thermostats, metal)
I have remodled several kitchens with old cabnets using
oil based
paint, sanding between each coat of
paint,
thinning each additional coat of
paint, etc etc..
The animation technique is an innovative mix of claymation and traditional cel animation, utilizing a
thin layer of
oil - based clay that is
painted / altered by hand to create the illusion of movement.
DO NOT INDUCE VOMITING if Rover eats or drinks petroleum products such as motor
oil, gasoline,
paint thinner, or lighter fluid or cleaning solutions such as bleach, ammonia, or laundry detergents — instead, give one dose of one or two tablespoons of cooking
oil or mineral
oil and call for help as soon as possible.
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.
I wasn't satisfied with a
painted illusionistic texture and so I carefully extruded
thin thread - like lines of
oil paint out of a little plastic bag to re-create the three - dimensional terry cloth texture that I desired.
Having seen Jackson Pollock's 1951
paintings of
thinned black
oil paint stained into raw canvas, Helen Frankenthaler began to produce stain
paintings in varied
oil colors on raw canvas in 1952.
Like de Kooning's
paintings of the period, Baselitz's new works impart a watercolor - like fluidity, achieved through the
thinning of
oil paints with turpentine and their swift, loose application.
Using turpentine to dilute
oil paints, Frankenthaler would then pour the
thinned pigments to an unprimed and unstretched raw canvas.
As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective
painting, that allowed for
thinned - out
oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.
He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine -
thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain
paintings made with
thinned black enamel
paint).
Instead of Dingle's typical palette of blue, sepia and grey, these compositions are rendered in a sugar sweet mélange of pastel yellows, ochres, greens and blues in a fanciful layering of both
thin washes and sweeping, buttery strokes of
oil paint à la Wayne Thiebaud.
Relying on the
thinner quality of acrylic
paint compared to
oil, Nara creates each
painting by adding and removing pigment until he reaches his desired effect: a canvas made up of suspended hues that allows the figure to emerge through layers of color, inviting the viewer to stand still and enter a moment of contemplation.
What the Washington artists were so taken with was Frankenthaler's technique, that of applying
oil paint that had been
thinned down to the consistency of watercolor to unprimed canvas.
A universe of information lies within the shallow depth of field and
thin layers of
oil paint that comprise each work.
One piece that especially stood out — a large work made up of twenty white paper squares divided by a
thin wooden frame on which much smaller squares and rectangles
painted in
oil had been arbitrarily placed — is a visual testimony to the love of music and poetry that informs the creative work of this painter.
Rendered in a loosely naturalistic style with
thin, drippy
oil paint, these are reminiscent of Hurd's previous riffs on the art world, which have included hand -
painted reproductions of art magazine covers
Rendered in a loosely naturalistic style with
thin, drippy
oil paint, these are reminiscent of Hurd's previous riffs on the art world, which have included hand -
painted reproductions of art magazine covers and reviews of his shows as they appeared in print except stained and littered with malt liquor empties.
The haloing effect seen around each stain results from the turpentine that is used to
thin out the
paint, a step necessary for
oil paints and the Magna brand of acrylic
paint.
This intriguing and original technique is achieved through expressive mark implementation, along with the
oil paint that is applied using
thin layering and employed onto each canvas.
Back in her studio, she experimented with
thinning and pouring different hues, using
oil paint to create watercolor - like washes.
Humidity plays havoc with
oil paints which sink faster into the canvas, but he seems to have shrugged and let them go their way, appearing
thinner and even patchy on the surface of some canvases, often leaving the weave visible and occasional gaps between blocks of colour.
Their vibrant palette greens, blues, pinks, yellows and reds applied with alternating heavy impasto brushstrokes and
thin washes of
oil paint — create canvases bursting with visual excitement.
Rendered with
oil paints thinned down with turpentine on linen canvases, Vecsey's reduced shapes are saturated with color.
Mid-century modern, abstract still life
painting on linen with
thin frame 38 x 32 inches,
oil on canvas This vertical
painting was created by Lionel Gilbert c. 1965.
My favorite piece was Chrystie 31, a more challenging
oil on paper that returns to Johns and Motherwell, with a substantial corner of a blue rectangle balancing a sweeping light figure in
thin paint, wash upon wash that takes the tone down to near the paper's white.