Sentences with phrase «using squeegees»

The cleaning of the windows using squeegees was expected and intended; however the scratching that occurred from cleaning was unexpected and unintended.

This pail brings about the greatest benefit - there's no need to stuff soiled diapers using any squeegee gadget.

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.

The act of pulling and scraping paint is most associated with the Dutch Abstract Expressionist Willem de Kooning, who achieved this effect with a palette knife, and the German contemporary painter Gerhard Richter, who often used a squeegee.

and «Boschville» (both 1969), Whitten uses a squeegee and other tools to apply paint as well as scrape it away.

Richter's process is well known: he applies layer after layer of color, often wet into wet, using a squeegee to pull the paint across the surface in various directions.

With Beekeeper and Plateaux, this crust registers as a grainy quality from a distance; with Dead Flag Blues, on which Ochmanek used a squeegee, it looks more like a tight weave.

Nearby is the well - known, Vermeer - influenced study of Richter's wife, Sabine, The Reader, and — yet another contrast of style — examples of his big abstractions made using a squeegee.

1986: Richter continues with Abstract Paintings and Landscapes including a series of works where he uses the squeegee over landscapes and works on Mirrors.

These loose gestures are then covered by a thin blanket using a squeegee, airbrush, and palette knife.

By using both a squeegee and a brush (rather than one or the other), and working on a stretched painting that was placed on a table, Heilmann chose to let the paint that dripped over the sides remain as part of the work.

For a smear - free screen, use a squeegee, # 1, Wilko.

The film must be applied to clean glass and positioned onto the window using a squeegee.

Use a squeegee to clean the shower door, to prevent water spots.

For inside and out, use squeegee and sponge, rags for drips and ladder for second storeys and tall windows.

Not exact matches

This was achieved by developing highly pigmented and tailor - made inks for this specific project and by using specific screens and squeegees that result in a much higher level of ink film on the bottle.

When his window misted up, he grabbed a squeegee (basically a sponge on a stick) and used it to clear his screen.

I design and make colourful, often typographical, screen prints using pencils, a very elderly computer, elbow grease, love and squeegees.

As its name suggests, it features a lift - off cleaner that can be used with more than a dozen attachments including a window squeegee, fabric steamer, grout cleaner and detail brushes to deep - clean just about anything.

Using a credit card or other thin, flexible tool, squeegee a very thin layer of white glue onto the back of one of the faces.

You will need masking tape though and, although they say you could use a credit card or driving licence I would definitely recommend purchasing the squeegee tool to get all the bubbles out.

They used a watering can to wash off the paint (thanks to the dish soap it comes off quite easily)... and then a squeegee to dry it off!

But is this weighty volume really helped by the inclusion of topics such as squeegee, beach party, printer's error and handrail («a continuous, conveniently positioned bar that is grasped by the hand and used by people for support on stairways, balcony edges or gallery walkways»)?

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

This counterpoising of chance and risk is a thread throughout the exhibition and one picked up on particularly by Gerhard Richter in St John (1988), part of his London Paintings series, in which he builds up layers of paint using huge spatulas, before erasing and revealing earlier moments with a squeegee.

Richter applies layer upon layer of paint to the canvas with «planned spontaneity,» using spatulas, brushes, and squeegees; he removes the paint, and reapplies it until he considers the picture finished..

Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting.

In Boschville, one observes the artist's early use of squeegees and the remnants of scraping, spilling and lifting of pliable acrylic paint.

Unique to the process in recent paintings is the use of squeegees.

Exploring the possibilities in abstraction, Min's use of squeegees and sprayers distances the hand and ultimately helps to create the ethereal nature of each canvas.

A more recent affinity is the similarity to Gerhardt Richter's squeegee paintings, in which he obliterates his initial lively color fields using custom tools.

Using palette knives and different - sized dry brushes alongside the squeegee, Richter scraped, smeared and redirected the random collision of pigments achieved in his initial application of paint.

For years, he used it sparingly, but he came to appreciate how the structure of paint applied with a squeegee can never be completely controlled.

In another contrast to Pollock, Frankenthaler actively interacted with the paint and manipulated its direction, by moving it across the surface using a wide squeegee, her hands and brushes.

In «Yellow Wall», for example, an image Carnegie has used several times, of a path vanishing into a leafy tunnel, is dissolved almost to abstraction in a mass of chartreuse paint, trowelled on in great gobs, squeegeed and gouged.

Was a proper amount of pressure used when making a pass with the squeegee?

These range from aluminum, steel, reflective sign materials, and plastics to mosaics, collage, pattern, digital data, projections, the use of templates and stencils, as well as squeegeed and airbrushed paint.

Richter applied the paint in thick brushstrokes, or with rollers and an aggressive sweep of a squeegee (ironically, a tool commonly used for window cleaning and clarifying one's scope of vision).

The use of the squeegee proved to be an important innovation for Richter, as it enabled him to surrender a certain element of artistic control whilst enhancing the physical qualities of the paint.

In this work, gesture was removed from the making of the work; instead, paint and canvas were «processed», using large troughs to hold paint, and dragging canvas across, with squeegees, rakes, Afro combs to create surface texture, line, and voids.

Either square or rectangular in format, the paintings were constructed by laying down (mostly) opaque layers of paint and then scraping away one layer from another by use of a squeegee, as in Little Three for Two: Red, Yellow, Blue (1976), or exposing under layers by peeling away tape.

Ann Tempkins places Guyton into art historical context by saying «Pollock flung it; Rauschenberg silkscreened it; Richter took a squeegee; Polke used chemicals.

In the 1970s, Whittenʼs experimentation turned to abstraction, when he developed new methods of painting, in which brushstroke was removed from the making of the work; instead, paint and canvas were processed, using large troughs to hold paint, and dragging canvas across, with squeegees, rakes, and Afro combs to create surface texture, line, and voids.

From the explicit use of geometric and mathematical rules to restrict the influence of the artist's voice in catholic iconography, to JMW Turner's bits of architecture providing an armature for an ethereal expression of light and air, to Gerhard Richter's squeegee obscuring his hand - painted marks.

The use of a squeegee to apply the paint answers a basic requirement of his abstract paintings, the avoidance of any subjective or expressive associations.

The Soft Abstracts were a bridge towards his later «free» abstract paintings at which point the artist had ceased to use photographs as a starting point and began to employ a squeegee to drag the paint across the surface creating giant brushstrokes.

Magyar is not forthcoming about the specific techniques he uses to conjure up these intriguing visual effects, but if I had to guess, I would say they must involve the use of squeegees and selective masking.

These elements demonstrate the alacrity with which Richter had perfected the use of the «squeegee» as a tool for painting: adapted from the wipers used by window cleaners, it was only in the mid-1980s that the artist began to apply paint with them.

While this was already the case in Richter's earlier abstract paintings, the use of the squeegee allowed him to tap into this notion of an ever - shifting, self - formulating order all the more eloquently.