Sentences with phrase «top edges of the paint»

Or, our living room could use some love - 12 ft ceilings and I am afraid of heights - top edges of the paint job don't look to pretty.

Not exact matches

But of course, the bottom cabinet had to match the top, so I used the putty knife again scrape away layers of paint in the grooves and edges.

The test Edge, a top - of - the - line, all - wheel - drive SEL model, was painted a stunning «Blazing Copper,» with charcoal trim and chrome wheels.

The monochromatic paint scheme of the Edge — with body - colored bumpers and side moldings — as well as its raised hood, special mesh grille, black plastic rail around the top of the bed, bold fender flares and raised suspension [in either 4x4 or 4x2 models] assures buyers that they will have one sharp - looking truck.

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.

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

Of the roughly two dozen in that first big painting, only a handful connect the top and bottom edge.

While the paint is still thoroughly wet, a brush loaded with black oil paint is dragged horizontally in a straight line from the top left edge of the painting almost to its right edge.

Collection (1954/1955) is the artist's first «Combine painting,» an early type of Combine that hangs on the wall like a traditional painting but reaches into three dimensions with various elements attached to the work's surface — such as the silk veil over the mirror attached just off - center and the found wood scraps along the top edge.

Compare, for example, the horizontal, dripping stroke of brown paint overlapping the bottom edge of blank cloth at the top of the first panel and its reiteration in white at an analogous spot in panel two.

Number 4 - 32 belongs to a particular subset of Stripe paintings in which Louis employed a long painting stick wrapped with cheesecloth to apply the acrylic paints at the top edge of the canvas, which he allowed to cascade down the painting's surface canvas.

Bright raw colors, rough edges and spontaneity define the seven paintings on view by established modern artists including Paul Jenkins, Syd Solomon, Robert Natkin and Stanley William Hayter — all who have enjoyed prominent exhibition histories and whose works are held in the permanent collections of top institutions including MoMA, the Guggenheim, the Whitney and the Tate.

If there was a part of this painting that bothered me, it was perhaps this small pink shape at the top edge of the canvas, sitting squarely in the middle.

As he applied layer after layer of paint, the top layers kept a more refined edge and didn't seep as much, so the top levels remained glossier and the lines more distinct.

And the only kind of horizontal lines we have are really on the top left and the bottom right, and otherwise, even the edges, the side edges, of this painting are diagonal, so they almost shoot you out to another artwork or whatever else might be in the room.

Greek Salad 2 (2017) is a square oil painting cropped so that the dish's curving edge creates an arc at the top of the composition.

Ryman thickly applied oil to a primed, stretched canvas creating the composition primarily from the varying texture of the paint and anchoring it with an accent of black along the top and an obscured orange rectangle on the right edge.

Painting on top of a layer that is still wet will make it very difficult to achieve definite detail and hard edges.

In «Endless Painting 1,» 2014, two column - like forms go off the top and bottom edges of a large vertical canvas.

Painting two or three soft - edged, luminescent rectangles, stacked weightlessly on top of one another, floating horizontally against a ground, he sought to transport the viewer to new realms of emotion and perception.

They evoke space and suggest a bond between the inside and outside by extending the charcoal lines to the top edge of the canvas and presumably beyond, directly challenging the formalist orthodoxy that defined painting as a self - contained object or surface.

Placed in the upper half, and held in place by the physical edges of the painting's top and flanking sides, the ghostly bands float above a subtly inflected surface that we look at, as well as into, unable to settle comfortably in either domain.

Now considered to represent the Colour Field Painting tendency within American Abstract Expressionism, these rectangles of uniform width fill the canvas almost edge to edge; at the top and bottom the forms also press close to the perimeter.

Meanwhile, behind the rulers, the square linoleum tiles are rendered to appear parallel to the top and bottom edges of the painting, while converging inward.

Her new paintings present few visual elements — two stacked, horizontal rectangles of differing heights and colors that are centered and aligned at the very top edge of a horizontal, panoramic canvas.

In Untitled, 2014, King's incisive linear pattern is truncated both by a vertical reveal exposing the OSB specifics and by a creamy white bar of solid color that runs along the painting's top edge.

Her new paintings and works on paper present a single, animated rectangle, often thicker on the top and bottom and narrower on the sides, which sits slightly off - center at the bottom edge of the canvas or paper support.

Since at least 2003, when he had an exhibition of Recent Paintings at PS1, his signature gesture has been to bracket his canvases across the top and bottom edges with large gobs of paint.

Another effect is the tapering of a gray band into an overlapping darker or lighter gray, starting at the top or bottom edge and moving at a predetermined angle until it reaches the opposite edge, which introduces a visual tremor into the painting.

Each painting — usually a square, as were the three big ones recently on display at Team Gallery in New York City — is constructed of rectangular color areas, loosely painted, laid one next to the other like blocks of stone; the horizontal line of each color block is separated from those above and below it (and from the top and, usually, the bottom edges of the canvas) by a continuous or broken line of colored «mortar.»

Structurally, Evertz's paintings interweave perfectly plumb, vertical stripes with lines that taper as they reach the top and bottom edges of the canvas.

Look at the rows of teeth - like shapes in «Red Cavalry» (2010) or the large red, sectioned and spreading form descending from the top edge in «City to Love» (2013 - 2016)-- another painting Webster has worked on for years — and one sees a relentless push by an artist who has always tested what he could do with paint.

In Robert Holyhead's Untitled (yellow), a variegated yellow ground is interrupted by two, flatly painted, white triangular shapes reading as cut - outs, accompanied by a vertical line of a different yellow, running along the right hand edge branching out at top and bottom into two triangles causing the yellow of the ground to recede, and creating a lively ambiguous space.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

The overall design and build quality of the LG G5 does feel a little unpolished, with something like the sudden breaks along the chamfered edges giving the appearance of the paint chipping, and the curves at the top and bottom giving it a bent look.

There is a bit of gold paint loss on the top edges of the baskets.

Spray the cans with a water - resistant paint and leave to dry, then pierce the bottom of the cans (for drainage) and on opposite sides of the top edge.

Just last summer, as I was perched on the edge of the tub, painting the wall over top of where the shower install ends, I put my bare foot right into the BUCKET of yellow paint, which I KNEW upon it's precise and careful location JUST THERE would never be a PROBLEM!

Against a backdrop of bright white open shelves and stainless steel appliances, Ashley added a painted island topped with butcher block to add warmth and soften the industrial edge.

This chest of drawers has the cutest little handkerchief drawer on top with a tiny simple drawer pull so a painted the drawer pull pink first and then lightly feathered on the gold wax around the edges.

It was then that I realized that the edges of the coffee table showed under the upholstered part and that I would need to paint the top edges all around, white....