Sentences with phrase «type of paint works»

And wondering what type of paint works well for a desktop?

Not exact matches

When she reaches the bottom of the article, she notices a call - to - action (CTA), which is essentially an ad, for one of your offers — a free painting consultation to help her decide which color scheme would work best with the size and type of nursery she's working with.

We love this craft to work on shapes, patterning and allow your child to work with all different types of media; buttons, foam, stickers, paint, anything goes!

Please make sure you have your work surface covered very well as those types of paints do not come out.

This work, with the assistance of soil scientists at the University of KwaZulu - Natal, has involved a suite of techniques, including x-ray fluorescence (to provide quantitative data on minor and trace element composition), x-ray diffraction (to reveal crystal structure and parent rock types of paint ingredients), and environmental scanning electron microscopy (to yield qualitative data on elements present).

I work with three different types of paint at the moment: Chalk Paint, Milk Paint & Fusion Mineral Paint.

Curious to know what type of brushes doe you find work best on furniture with satin paint.

I do henna, spin fire, paint, work in the medical field, have awesome children, love to go to shows and dance, I am interested in all types of music and the variety life...

Rather than painting boards and their members with a broad brush, Shober and Hartney spend time defining different types of capacity — possessing accurate knowledge about a district, focusing on student learning, and adopting effective work practices.

Then, you work with an architect to draw up the plans: where the doors and windows are placed, how big the garage will be, the type of wood that will be used for the kitchen cabinets, the specific tile chosen for the bathroom, and the color of paint for the outside of the house.

I work in all types of media from oil paint to coloured pencil and use programs such as GIMP and Photoshop to create the more distinctive effects of my drawn work.

Students in the UK also study my work quite frequently and I am bombarded by their questions... SO theoretically I should continue to paint in this genre (which I may do, as I do love this type of art)... but I am torn as I have a new genre — paintings to do with obesity / healthy eating / weight issues etc — which is a relatively new and uncommon topic in fine art, and I am positive has a lot of potential, and is really an issue which greatly interests me... so the question is whether I should then focus all my effort on this?

I can't seem to find my style or niche (my subject matter and type of painting is ALL over the board) and I'm having a hard time finding the confidence to actually pick up the brush again... nevertheless market my work for sale.

As I teach, judge, visit exhibitions and look at work in books or across social media, I see bits and pieces of paintings that cause me to think about how a particular effect or even a type of brush stroke could impact my own work.

I make all types of paintings that have figures in them but the figure is behind bars or walking a pitbull or a mastiff, like in my work Walking with Vito (2008).

The works looked like the type of painting - and - sculpture hybrids popular now, but they were made in the 1970s by Michelle Stuart, an 82 - year - old artist who signed with Tonkonow in 2010, after about a decade without representation.

It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró.

The focal point of the catalogue is the painstakingly reproduced color plates of fourteen recent paintings, many of which are depicted several times in various types of light and from multiple angles, allowing the reader to experience the work in a way that is more akin to seeing them in person.

Such are the thoughts when one views the work of Mary Heilmann and thinks about all the weltanschauungs that she weathered in decades when her type of clean - edge paintings were nowhere to be seen.

It becomes even more ironic if you consider that Tuymans's work has always involved research into the reliability of images, and the difference between paintings and other types of images.

[9][50] Helen Anderson, a fellow student, remembered his early works as being very aggressive, with dark, moody colours, which was not the type of painting she expected from such a «quiet student».

This is the same type of address cited in the title of Nicole Eisenman's recent exhibition, Dear Nemesis, which just closed at the Contemporary Art Museum (CAM) St. Louis and will soon be travelling to the ICA Philadelphia — a survey collection of over 120 works, primarily paintings and some sculpture, since the early 1990s.

AB: Do you find that your painting process changes significantly when you're working at this type of scale?

I love most types of painting, from super-realism through to minimalism, but a good expressive work with paint slapped on and dripping off the canvas will always make me smile the widest Continue Reading

Painting with complex diversity has some mileage still to explore given that this type of work is both in its relative infancy and very unfashionable.The general downturn in the complex diversity of abstract work, from the 50's to around the early 60's, is a notable historical shift (anyone with relevant sources / references please let me know), granted that some abstract painters have continued to explore complex diversity in their work; Alan Gouk and Gary Wragg being two of the most notable painters.

His work has the structure and syntax of sculpture, but it simultaneously has all the trappings of painting: wood, canvas, various types of coating and paint.

The work of Joseph Montgomery has the structure and syntax of sculpture, but it simultaneously has all the trappings of painting: wood, canvas, various types of coating and paint.

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.

Featured are 50 pieces which make up two complementary bodies of work: recent paintings (most from 2008 to 2009) and drawings (created from 1979 to 1982 made on different types of paper and diverse media, including pencil, ink, watercolor, acrylic and oil chalk).

In video, painting, and photography, Rochelle Feinstein's work is deeply imbued with a knowing type of outsider agitation and feminist interrogation.

PD I'm not sure because I don't really see much evidence of that type of filmic imagery in his painting work.

RM There's a certain type of work using a brush where you're painting and thinking and working almost simultaneously.

I felt much more connected to Polke because of his use of popular imagery in a kind of witty irreverent way, and that he was prepared to use all types of visual language in his own work, unlike Richter who would be painting paintings that looked like photographs.

The type of «information painting» which many contemporary artists seem to be producing today has more than just a formal correspondence with the work of some of the pioneers of Azimuth and of the more obscure artists of the «Arte Programmata»; it is by analyzing the prehistory of the digital age that we can hope to understand better our present.

By that time the artist was transposing, eliminating, and applying various types of design to his work in order to evolve his conception of landscape painting.

CA: My work in this show began with an earlier 7» x 9» painting of Google's search page with my name typed into the search bar, which I came to because I was trying to imagine the «man without qualities» as a painting, as a self portrait.

While his practice has sometimes alluded to the work of other artists, it more often replays / repeats general types and formats of photo - based painting as if appearing to be in conversation with those formats but which, in reality, is more accurately about the construction of appearances.

On a single work's surfaces, on a colored ground, Zheng makes thousands of prints from woodblocks he has carved, printing type, found stamps, and more recently Chinese papercuts; he finishes the work by painting into it by hand.

As he elaborates on their similarities and differences in accordance with his rejection of residual European influences in favor of the new application of fabricated objects and industrial products, we realize that his argument is part of his greater advocacy for the works of the artists of his generation (similar to what Clement Greenberg wrote a decade earlier in 1956, in his equally significant essay, «American - Type Painting»), and further deriving from his own artistic output at the time.

A formal tension in Ferris's work exists between types of mark - making: fields of spray call to mind a quasi-photographic, Richterian blur, while scraped - on graphite and textured lines of oil pastel bring the paintings back into a non-objective realm.

One of the most persistent themes in contemporary art since the early 1990s has been the proliferation of work that addresses «ruined modernity» and «failed utopias»: in other words, a type of art that reformats iconic examples of 20th - century architecture and design into painting, sculpture, photography, video, slide shows, archival installations, etc..

Established in 1991 as the first fine art gallery in Hudson, NY, Carrie Haddad Gallery represents professionally committed artists as well as emerging talent specializing in all types of painting, both large and small sculpture, works on paper and a variety of techniques in photography.

[2] She explains, «All my text works (whether painted or typed) are hybrids of painting / writing / drawing.

Many of Hofmann's most uninhibited, «loose» abstractions, with their soft - edged patches of intense color and whiplash drawing, appear informed by Kandinsky's dynamic paintings from 1910 — 14 — not surprisingly, since Hofmann owned several intimate Kandinsky works on paper of this type, which his wife brought to America when she joined her husband in 1939.

That boom was driven by a commercial gallery scene and auction - houses less interested in practices drawn from the neo-avant-garde, but instead in the type of works that grace white cube spaces — in particular, large paintings that were shifted profitably at auction.

Lüpertz often makes his own frames for paintings (perhaps to avoid collectors putting them in status - endowing antique frames), the most common type being decorated with splodges of paint like camouflage makings, as if to disguise the works as they were being made.

Modeling her CG animations on the allegorical paintings of Casper David Fredrich, Fu continues her aspirations in the sublime from her painting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous lapainting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous laPainting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous landscape.

In this new body of work, Parrott incorporates sculptural elements within her paintings in order to explore the canvas as a type of barrier.

As I look at Mohammed's recent body of work, I can't help but think of Kerry James Marshall's The Lost Boys (1993), a painting that depicts two young black boys — one playing with a water gun, the other seated in a toy car of the type found outside a supermarket.

In his most recent multiple works he has combined an abstract painting with its copy by mounting one on top of the other in a type of Siamese twin orientation.