Sentences with phrase «using deep hues»

Together they defied convention by using deep hues, though the condo is small, and mixing metals like brass, chrome and bronze (rather than keeping the accents uniform).

Not exact matches

Concord grapes are smaller, deeper hued, and intensely flavorful (one reason why they're often used as «grape» flavoring and to make grape jams and jellies).

using orange deep red sanguinella oranges decidedly did not produce the gorgeous pinkish hue you achieved.

When creating this homemade holiday card, use white and different hues of blue to symbolize not only the colors of winter, but also deeper spiritual meaning.

Get this look by using: CoverGirl Flamed Out Shadow Pot in «Red Hot» layered underneath the deep burgundy hue in the CoverGirl Eye Enhancers 4 - Kit called «Drama Eyes» on eyes, and a mix of a pale purple, like CoverGirl Colorlicious Lipstick in «Verve Violet» and a baby pink, like CoverGirl Colorlicious Lipstick in «Yummy Pink» on lips.

It's actually painted in Cashmere White Magno; the C63 S Ocean Blue Edition's name stems from the Deep Ocean Blue hue used on the model's convertible top and on finishes on the car's front and rear fascias, exterior mirror housings, lip spoiler, and wheel center caps.

Most Boerboels I have seen have black - pigmented noses and other integument areas, although the great majority have a base coat color of tan (you can call it fawn or red, or use a few other terms) that ranges from a light coffee to a deep dark hue.

For example, the Embarcadero has more nautical decorations and the exterior with its brick and corrugatedsteel reflect the warehousing and wharf that used to sit on that site,» said Napa River Inn Marketing Director, Melodie Hilton.Those who stay in the original warehouse from 1884 will find furnishings that reflect its deep history: warm hues, candle light-esque illumination, claw foot tubs and fireplaces.

Trosch uses oil, often applying it in a thick paste the consistency of peanut butter or putty in florid, hothouse colors and pale, pastel hues — pinks, mauve, celadon greens, sunburst yellows, deep blues, and reds.

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

Hornyak uses areas of pale and deep hues to build up a well - integrated negative space that surrounds her freely - rendered floral still life subjects.

That sometimes a painting only uses two shades of blue — say a magenta alongside a deeper, royal blue — shows that Reinhardt had not yet in the early 1950s created a system out of color, as he would later when the black paintings were fully underway, but nonetheless he had the idea that red, blue, and green mixed with a single color enabled him to achieve a high degree of coloristic complexity within a single hue, which he also employed for the contemporaneous red paintings, working with different red tones, but also mixing red with green and blue to juxtapose yellow and magenta passages with the red ones.

He plastered the building's exterior using a fresco method, which allows for deeper color saturation than the pastel - hues available with standard lime plaster techniques.

Give peach a more understated feel by teaming it with deep, sophisticated navy, using soft grey or stone hues as a background to tie the palette together