Sentences with phrase «vertical strokes of»

The thin paint of the edge of the bed, through which the weave of the canvas is clearly visible, contrasts sharply with the thick paint of the bed clothes, just as the thin vertical strokes of the curtain contrast with the creamy treatment of the flesh.

In select pieces she also outlines the fields of spray in abrupt, vertical strokes of color.

In select pieces Ferris also outlines the fields of spray in abrupt, vertical strokes of color.

If the red vertical strokes of the iTrend.ex4 custom indicator form above the 0.00 level, price is said to be driving lower i.e. a sell signal.

The premise is that a T - shaped person has a depth of knowledge in one discipline (this is the vertical stroke of the T) as well as a breadth of knowledge across multiple disciplines that allows for collaboration and innovation (the horizontal stroke of the T).

Not exact matches

The team's computer program decided whether a drawing was a genuine Bruegel based on statistics of how frequently the artist made a stroke within 15 degrees of vertical or 15 degrees of horizontal, along with more subtle statistics on correlations between nearby strokes.

Anything to the left of the vertical black lines is good — less than average chance of stroke.

An Ascender is an upward vertical stroke which you'll find on the part of a lowercase letter that extends above a typeface's X-Height.

It consists of a group of four very dark colored, reddish - black thick strokes imposed on thinner black lines, which describe an open, more or less vertical and horizontal structure.

She composed Untitled framework of vertical and horizontal strokes, rendered with a thick brush and a powerful, confident hand.

Additionally, the palpable surface of paint convey Truitt's ever - present sense of geography in the alternating vertical and horizontal paint strokes that mirror the latitude and longitude of an environment.

Using the stroke of a flat wide brush as his instrument, he gradually «drew» an essentially graphic composition of all - over horizontal and vertical, long and short, black lines, and curves.

In the wider paintings, which are created on abutted canvases, the evocation of poetic form is especially strong: every time the brush traverses the seam between one canvas and another there is a slight disturbance: a vertical line slicing through the stroke.

Copies of the artist's birth certificate and pages from his address book are physically laid down as a self - described «under surface» of the paintings on which he applies multiple layers of paint stick in vertical and horizontal strokes.

The most noticeable, and therefore notable, features of Keltie Ferris's well - lavished paintings are their two most immediate strata: Ferris finishes off her large - scale abstractions with arrays of spray - painted dots and dashes and then returns with a brush loaded with a higher - intensity, contrasting color to lay down short, chunky strokes tightly packed in vertical, parallel arrangements around the previous layer.

A few colorful highlights worth a closer look include the feather - light finger exercise No. 2526 (especially the racing matte black vertical strokes that alternate with bold orange bars) and the paler, lighter black strokes bookending No. 941, pure cursive plays on stage - like geometry backed by an abstract version of what could be a theater set by Raoul Dufy (including Dufy's aqua as a border).

With swatches of white over the thrusting black verticals and arcs, Ninth Street believes the misleading assumption that Kline simply painted heavy black strokes over white backgrounds.

With its thin, delicate tracery of black threading throughout the strokes of whites and filaments of shifting color forms, Number 15 is a fitting culmination of Tomlin's career.By inclination a superb colorist, Tomlin reduced his palette from 1945 to 1947, and focused first on the painterly mark, adapting a calligraphic technique within a vaguely Cubist structure of horizontals and verticals.

The results have more of the elegant austerity of Barnett Newman: one of the works dating to 1980 in his From Line series, comprises a single vertical stroke.

His first large picture, six feet square, Unnumbered, 1965, was again executed in the plaid technique, superimposing and interweaving square strokes and bands in a complex pattern of diagonal as well as horizontal and vertical activity.

Here, Richter's use of this tool is restricted to a series of vertical strokes which he applies with a considerable amount of pressure to eradicate some of his previously painterly layers.

At that point, the creamy edges of the paper and a signature gesture of Cunningham — the frame within the frame made by 90 - degree meetings of vertical and horizontal strokes at the edge of the color field — become more apparent.

One of his works was a monolithic diptych that was severely pared down in terms of colour, employing the use of horizontal and vertical strokes in repetitive manner.

The gesso he uses as primer is applied onto the canvas in horizontal and vertical strokes with a broom stick, to recreate the warp and weft of woven rugs.

For a second series of vertical abstractions, Mr. Frize utilizes brushes that are tied together to sweep over areas of multi-colored paint with a downward motion to construct rainbow - like strokes.

Tres Memoria, which you see here, represents one of Lynda Benglis's smooth - surfaced encaustic paintings executed on narrow, vertical supports using multicoloured liquid wax in even brush strokes, which she then manipulated with a blow torch to obtain a marbleized color effect.

In Story (2015), she first paints a stack of vertical bands, which are covered by vertical pulls of paint, which are fogged over by a Jules Olitski - like mist of airbrushed pigment, which is then doodled over with scratchy, felt - tip - pen - like green strokes.

He peaked in the second half of that decade, turning out commanding paintings with centralized clusters of vertical and horizontal strokes.

In Hidden Dimension No. 135 (2016), the loose horizontal strokes in the center ground lap against tight verticals, sketching out what might be a pool of water surrounded by thick vegetation.

Untitled (SF79 - 979)(1979) is a work of particular quality, with its powerful vertical and horizontal strokes in bold green and red contrasting with more expressive paint spatters and small areas of white space, left intentionally blank.

The tones, however, became more subdued, and the formerly vertical and horizontal accents of Thomas's brush strokes became more diverse in movement, and included diagonals, diamond shapes, and asymmetrical surface patterns.

His brush strokes (their width roughly that of a hand) move repeatedly from left to right, stopping just short of the right vertical edge, and sequentially from top to bottom.

One isolated vertical paint stroke, only one and half inch wide but the same height as Vir, The Wild is the opposite of all - over painting as espoused by one of Newman's champions, Clement Greenberg: it is sculptural, it is even theatrical, but the two works create a pincer movement that assert or challenge the viewer's sense of proportion, dimensionality, and measure just as Newman wished.

Repeat step 3, this time using horizontal instead of vertical strokes.

I used an old primer brush and applied a generous even coat, working in medium - length strokes and rather quickly, being careful not to allow any pooling, especially on the vertical surfaces so as to prevent running and sagging of the medium.