Sentences with phrase «top layer of the paint»

This way, we can disturb the top layers of paint, without lifting all of the paint off.

Influenced by New York abstract expressionism and abstract colour - field painting, Robert Scott has developed a style of drawing with his fingers through the top layer of paint to expose the underpainted colours.

The «Scratch Series» from the 70s, for example, shows his rhythmic gesturing across the canvas, as he pressed off the top layer of paint with his bare thumb to reveal the alter undertone.

In the summer heat it will nearly bake the top layer of the paint not allowing the bottom layer to fully cure.

Below you can see what happens to the top layer of paint.

Not exact matches

Or — yes — it is the final layer on top of years and years of paint jobs.

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

The bimorph is built using atomic layer deposition — chemically «painting» atomically thin layers of silicon dioxide onto aluminum over a cover slip — then wet - transferring a single atomic layer of graphene on top of the stack.

Here, she topped the brows with various layers of gold paint, gold pigment, and gold glitter to replicate the texture of brocade fabric.

Whether on its own or as the foundation for a dressier layered look, this painted stripe sleeveless top is tailored with a pleated keyhole neckline and infused with a hint of stretch for a flattering, comfortable fit.

I sanded down the layers, and layers of paint off the top in order to reveal the beautiful wood top.

I did this on purpose so the paint layer will create a texture on top of the wood.

If you're wanting a bit of a layered look with the colors, you could then dry - brush another color (s) on top on the spray paint, once it's dry.

Then when my paint had dried, one more layer of top coat and my look was complete!

I felt when they weren't spray painted over they gave an added iridescent look on top of the layer that was spray painted white.

If you put a base coat of milk paint on a piece with the bonding agent and then put a top layer on in another color will you get that wonderful chipping?

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.

I then painted the box using primer just to make sure there is no bleeding through the paint, I used some grey paint for the base layer and for the top layer I used some of my home - made chalk paint to paint it.

In coloured pencil painting we don't of course use masking fluid, but it is possible to preserve the colour of the paper, no matter how much colour you layer on top.

I gained new practical knowledge about the importance building up layers and applying glazes, because as each successive layer is built up on top of another, on completion the intensity of the pigments positively brings the painting alive with colour.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

Bradford: That one is called «Friendly Skies» I've been working on it for two years.I enjoy how your paintings earlier paintings had an incredibly layered quality - with what feels like thin pigments on top of thin pigments.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

Similarly, Figueredo's large - scale paintings draw from his printmaking technique, composing colorful planes layered on top of one another, that merge the powdered wigs of our forefathers with the obscenities of our contemporary amusements.

Unlike Frank Stella, a pioneer of object - oriented striped art, Wang Guangle arranges paint in layers, one on top of another.

Nic 1, Vizie, Joyce Pensato and Shinique Smith, who represent a range of graffiti and gallery practices, painted and tagged for over two weeks, layering their work on top of one another's.

Indeed it is, from a brand - new series that the sculptor — who has made paintings of nets and peacock feathers in the past — creates by laying down rows of yarn on a red - painted canvas and then applying another, darker layer of red on top before removing the threads.

Analysis confirmed that the entire painting was not made in one night, as indicated by layers of wet paint on top of dry paint.

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

In each of the paintings a rectangular canvas is painted with numerous layers of white paint, on top of which the artist affixes a (usually) black canvas.

Working with thirty - foot lengths of canvas on the floor, he would pour one layer of paint over another, not - quite - cured layer and allow the top layer to shrink, separate and craze as it dried.

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.

With layer on top of paint layer, Bluhm created jewel - toned diaphanous and energetic abstractions.

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.

These paintings often employed the use of a silver, acrylic background with layers of dark oil pigment on top.

Finished with a top layer of white paint, the works archive the advertisements that punctuate urban life and encourage viewers to adapt, respond to, and erase these ever encroaching corporate images.

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.

I painted layers of black over houses and flowers and suns, and when I drew on the blackboard I put a layer of chalk on top.

In Description — 2008-9-17 and Description — 2008-9-18, Zhang layers his own thoughts and experiences in a journal - like manner on top of a painted snapshot procured from old Chinese films.

Momentarily abandoning the stupefying rhetoric of immediacy that characterized his earlier photographic appropriations, he is now reinscribing his work in the well - lit field of modern paradigms: by referencing the monochrome as he did in his previous «joke» paintings, by reintroducing collage and silk - screen superimpositions, and above all by coating some of his appropriations with a thin layer of white paint that is simultaneously on top of and underneath the imagery.

Also on show will be Rauschenberg's Bed, 1955, (pictured second from top, right) a work massively ahead of its time, which involved stretching his actual pillow and bed on a canvas frame and then layering in paint.

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

The paintings in the show are all constructed with four layers on top of a dyed canvas, two stained and two thickly painted opaque layers.

Painting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, materiaPainting with airbrushed acrylic on nylon mesh or Mylar has the effect of layering illusionistic space on top of the painting's actual, materiapainting's actual, material space.

Flashing along the borders of the figures like a reflection catching the light, streaks of paint and gesso beneath the top layer make fleeting appearances throughout the series.

During my training at the California College of Arts and Crafts, I began to create collage drawings that layered disparate images on top of one another; I now use oil paint in a similar way, starting with an abstract background and then adding more photorealistic details, allowing the work to dictate its own construction.

For this project the artist has dyed canvases of linen and cotton with natural pigments, layering acrylics and oil paints over the top.

I started layering them on top of each other to create another structure with fictional scaffolds on which to paint.

Parker photographed the marks moments before they were erased by a layer of magnolia paint, and the visible tide mark of the paint cutting across the top third of the photographs allows them to be read too as landscapes.

These objects included layers of paper which were laid on top of each of the larger paintings and multi-colored bundles made up of rag materials hung from the gallery's ceiling, recording the creative steps that Parla went through.