Sentences with phrase «what paint brushes»

For example, painting like a professional painter requires that you know what paint brushes you need to be using for the type of project you have planned.

Not exact matches

But what I liked about his post is that it takes Hubpost to task for painting all content marketers with the same broad, denigrating brush.

This is painting God with a human brush and hating what you see.

I think what John was saying is that while a great many Christians are willing to paint all Muslims with the terrorist brush, they are bending over backwards to deny this guy was a Christian.

David, Not [believe it or not] to be arguementative, but, «No,» I don't think what you sited is painting with a broad brush.

She gets as much out of observation as she does from doing things, so roll up your sleeves, cover your child's hands with your own, and guide them in brushing or gluing or painting if they don't see exactly what to do.

What a great idea to use an unconventional paint brush to make fun art!

Lately I am being bothered by some of the postings of adoptive families (I am not painting you in a big brush or talk about all but i think you know what i am talking about) specially «Mommas of these brown eyed boys and girls» as Kim here describe them.

If your painting instructor yells at you, hits you, or puts you in a corner every time you make a brush stroke she doesn't like, what are you learning?

What if taking your home off the grid required only a trip to the shops, a bucket of paint, an afternoon on the roof with a brush and a couple of beers, and an electrician to hook your new roof up to your power supply?

You have so many wonderful projects but what caught my eye was that you could clean an old paint brush with vinegar!

and im very frustrated, I cant not get the brush strokes to go away no matter what I way or paint or what I use!

What kind of a brush is best for this purpose as so to not leave paint streak marks?

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

Like I said before, it's amazing to me what some paint and a brush can do, and it feels so good to complete a big transformation like this.

So, I got an idea on how to utilize what I already had, found some trusty spray paint in Brushed Nickel, and am quite happy with the result.

Before I run I wanted to share what some other talented bloggers have come up with from IKEA and most of these hacks require just a paint brush and some paint.

But what happens in Infinity War should cause massive trauma in the few characters who survive, and I'm simply not convinced Marvel Studios knows how to paint with that particular brush.

But the whole racial divide gets painted with such a broad brush sometimes that what gets lost is what is working and what we can build on.»

Every registrant can of course see and hear what the host is doing; in my case ñ watch me paint, drop a brush from time to time and listen to me wax eloquent.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

He spends three to four months on each painting, with a unique attention that creates, «through layering of mediums and the play of the brush, the illusion of depth and [the] sense of presence beyond what is found in photographs.»

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 a recent documentary interview, Appel explained why she considers herself a Romantic landscape painter: «Not recording mimetically what lay before me, but trying to express the excitement I felt in response to nature by using paint - soaked brush strokes on a large canvas wherein the over-lapping layered strokes of color were metaphors for the contiguities found in nature.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

Artists working in this style do not try to hide what was used to create the painting by smoothing out any texture or marks left in the paint by a brush or other tool such as a palette knife.

While thinned oil paint tends not to be as brilliant as stained acrylic, Bush's loose and casual application — usually with a brush — enlivened the surface, giving what became known as his «thrust» and «sash» paintings their characteristic warmth.

Similarly, Jessica Labatte sets up elaborate arrangements of colored paper, but in the process of photographing she makes visible what is barely there between the lens and the subject, such as tiny debris and dust particles that give the illusion of painted brush strokes.

Done with oil sticks pressed directly against the canvas, a method Mr. Goldberg chose some years ago over brushing with paint, they are energetic productions based on what he called a «quasi grid,» with patchy squares of color intersected at random by strong diagonals.

Celebrating the work of 51 artists, each experimenting with painting in different ways, A Brush with the Real comprises of individual interviews through which it is revealed how they work, what their motives are and how they draw inspiration from the great masters before them.

After all, what is this painting but a few black brush marks on white background?

The life of what one drops the brush into counts for more than the size of what one paints on.

Unlike Pollock, he continued to apply paint with a brush, working from all four sides of the canvas with an eye for what he called — in an echo of the modernist doctrines of the pre-War decades — «plastic expression.»

By the time you're near the Yellow Ochre streaks there should be very little blue paint on your brush — look at this photo below to see what I mean.

Mr. Noland removed any representational hints from his paintings and any suggestion of what artists call «gesture,» or the obvious movement of the hand or brush across a canvas.

JM: What prompted the move away from painting on stretched canvas with brushes and oil paint to using an airbrush and automotive paint to make reverse paintings on glass?

At one point or another, all of them were considered «Second Generation» Abstract Expressionists (or followers of Willem de Kooning) who were guilty of painting with a loaded brush, or what Clement Greenberg called the «Tenth Street Touch.»

What's so impressive about these paintings is how the loose brush strokes capture the energy and very essence of the scene.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

If at first Cézanne thought he could derive his painting from looking (like one always imagines Cézanne with a brush suspended in his hand, looking at the scene, and waiting for what the next touch aught to be), that might have been the way when he started out.

«Rauschenberg was radically egalitarian about what art could be: a sock, a brush - stroke of paint, a movement that was non balletic.

What appear to be linear marks and ripples made by dragging the stick - end of a brush through wet vinyl paint, like an act of vandalism tearing through a pristine surface, is in fact a tour de force of illusionistic paint - handling.

Being inspired by Art Brut and Folk Art I decided to paint what are rather abstract forms in a naïve way, using about 24 colours and a uniform brush size.»

In contrast to the preceding exhibition's examination of unorthodox materials, this group embraces what are traditionally considered painting's tools: brush, pigment, binder, linen and canvas, for extraordinary results.

Take, for example, the drop cloths, tarpaulins, and the paint - saturated sailcloths Schnabel used as brushes to spread paint upon his grounds — themselves fashioned from canvas or burlap or what have you — that become, in turn, new grounds or surrogate passages of paint.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

What possessions she owns don't interest her, except paints, brushes and canvases.

Stella: Well, you have a brush and you've got paint on the brush, and you ask yourself why you're doing whatever it is you're doing, what inflection you're actually going to make with the brush and with the paint that's on the end of the brush.

«My goal is to say what I want to say in a painting with as few strokes of the brush as possible.

Lately I've been using acrylic gouache for the small paintings, and sometimes I will make the paintings with one brush — a # 4 round watercolor brush - and just repaint quickly and obsessively until I get what I want.