Sentences with phrase «wall paper patterns»

Frivolous interiors are layered with majestic landscapes; decorative wall paper patterns overlap austere grids and color fields.

Often her color palette evokes interior settings and materials such as wall paper patterns and architectural edges and angles.

Not exact matches

Use a fitted sheet with a fun pattern, paint the walls a bright color, or hang paper art from the ceiling (just not over the crib!).

I love that pretty wall paper and the mixed patterns in the decor, so pretty!

The floral pattern in particular had its resemblance with 19th century wall paper, light base and small sized flowers as a contrast.

This includes crumbling paint, rusty surfaces and ironwork, rusty chains, patterned metal, old walls, textured fabric, rope, cobbles, crinkled paper and more!

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, verbs, adjectives, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Story outline — problem, response, action, outcome ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the heart in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Creative drawing — 2 headed dog * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, verbs, adjectives, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Story outline — problem, response, action, outcome ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Creative thinking — giant killing plan and equipment needed ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the footprint in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, adjectives, verbs, thought, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the jawbone in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

To make the image, Unwin reuses motifs and patterns from previous works - the dots are from a wood - block print, the architectural arch is from a «stone wall» model making paper and the tie - dye, from studies made in the artist's sketchbook.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

But while his lexicon is recognizable, it is enigmatic and incomprehensible as it repeats and creates a visual cacophony — a kind of buzzing of color and pattern — that camouflages and obfuscates the panels, photographs, walls, clothing and found paper on which he paints and draws.

Fausto Fernandez, I Ate Some Mushrooms And Remembered I Was Madly In Love With Her, 2013, collage with architectural prints, sewing patterns, maps, wall paper, image transfer, acrylic, and paint markers on canvas, 72 x 72 in.

Using an assortment of mixed media — cut paper, graphite, gouache and wall painting — this installation transforms the aforementioned texts into visual patterned abstractions.

Inquiry's End features one of the artist's most challenging works to date: a ninety - one part wall installation titled A Pattern or Practice (2015) that uses inkless embossing to punch portions of the US Department of Justice report on the Ferguson Police Department into blank white sheets of paper, making the findings all but inscrutable to the viewer.

By covering every surface of his apartment with sheets of tracing paper and rubbing it with blue colored pencil, Suh and his team meticulously documented the various textures and patterns of the floors, walls, and built - in appliances.

Artist, printmaker, textile designer and horticulturalist, Angie Lewin's work encompasses an astonishing range of disciplines and techniques, working in wood engraving, silkscreen, lithography as well as creating pattern for wall papers, ceramics and textiles.

Created using a combination of traditional ceramic tile - making techniques and the graphic possibilities of paper, these recycled paper pulp tiles will add dimension and pattern to walls.

you will learn how to make star paper lamp, floral paper patterns, paper picture frames, paper heart wall decor, paper basket ball, paper rose wall decor and many more... Frequency about 1 post per month.

Should you have matching patterns or painted walls in conjunction with a focal wall... is it ok to paper the whole room in the same pattern?

And all these wall papers with big patterns on.

SC: Start by measuring the height and width of all walls to be papered, taking into account the pattern repeat, to calculate the quantity of paper required.

If you are a renter or don't want to paint, you can add some color and pattern to the walls by framing a sheet of wallpaper, fabric, or patterned paper!

The classic Orla Kiely Linear Stem paper in the living room was a «must - have», but getting the vertical pattern to look straight on the wobbly old walls was a serious challenge.

Paper the walls in a fun pattern, go bold with artwork and add some shine with brass sconces.

Clear glass wall decorations can be placed individually or in groups on your wall to create texture and interest, either on a plain coloured, painted wall, or a patterned, wall papered area.

Dramatic walls covered in patterned paper and contemporary art are teamed with more subdued furniture.

Wallpapering an entire dining room with a highly patterned paper can be overwhelming, so try decorating a panel of wall for a quieter but equally eye - catching effect.

Whether it's on walls or soft furnishings, make a feature out of a strong design: papering one wall with flocked or floral wallpaper will stop the pattern from taking over the small room, but will still achieve the desired finish.

Harper papered the walls of a guest bathroom in a faux - stone pattern: Lee Jofa's Malachite.

We had had one wall papered in a pleasant but dated cream and blue floral pattern... so that was the first to go.

With white walls and a white suite, pattern and colour have been injected into this bathroom with a pretty shower screen and bright papers, which have been used to line the inside of a glass cupboard door.

Twice before I've used patterned paper on challenging angled walls, and loved the results both times.

Rather than leave the angled surface plain in this little nook, a wallpaper with a large format pattern has been applied to it, to create an interesting contrast to the geometric paper that covers the flat walls.

Paper a feature wall with a floral print and bring in cushions in complementary shades with contrasting patterns to finish the look Wallpaper

This non-woven wallpaper will also help smooth out lumpy walls and its high - opacity print means you can paper on top of old wallpaper without the pattern showing through.

Solid blocks of pink on either side of the wall emphasize the slim lines of the pattern in the paper.

Tape the pattern on the decorative paper applied to the wall; use a crafts knife to cut around the template.

A few little caveats — number 11 is actually individual wall decals that you can place on your wall in a pattern which still gets the look of wall paper (also removable), at a much lower price point, and number 12 is not actually a temporary wallpaper, I think it is more of a traditional wallpaper with a smarter adhesive technology so it is supposed to be easier to adhere and remove.

(I just built my design as I went along, but laying out pattern ahead of time is helpful or use paper like this gallery wall tutorial for symmetry.)

Suzanne broke from the rest of the home's muted scheme and papered these walls with an exuberant pattern.

Use them to stencil patterns on walls, wood, concrete, furniture, tile, fabric paper, cork, canvas, and more.

Laine's Room: tray on wall - ibride; chandelier - Sears; pom poms - Michael's; furniture, bedding, rugs, and white sheer curtains - Ikea; letter L - Anthropologie; butterflies - cut out from patterned paper; bunny print - kikiandpolly; pink print - sugarloop.

Use leftover wrapping paper, wall paper, or patterned craft paper to make fall decorations that match your style perfectly.

I think THIS paper would look great - pattern to contrast the brick wall and bright!

A vibrant wallpaper pattern is a great way to zone out a home office area when you don't have the luxury of an extra room, simply paper the wall behind the desk.

Keep three walls pale, but paper a fourth feature wall (behind the headboard) with a traditional flock pattern for some period charm.

Keep carpets or flooring, curtains, three walls and ceiling pale and light to make the room feel spacious — but paper the fourth wall with a dark and dramatic patterned paper to inject some colour and warm the look up.

Another trick is to paper the walls in a repeating pattern like a trellis, toile or other motif.

Make your shelves stand out Try papering the sections of wall between display shelving to add a touch of colour and pattern.