Sentences with phrase «white painted surface»

I read that if you have a white painted surface you want to use polycrylic (water base) because it will not turn a yellowish tint that the acrylic one does with time.

In Shaved Ice (2010), a white painted surface gives way to the bubbly texture of Gorilla Glue, weighted down by dozens of copper - plated steel bits that make the surface appear even more constrained, referencing Piero Manzoni.

We love our white slipcovers, bedding, and white painted surfaces!

Not exact matches

I've visited the Force India factory and I can say, start scratching the surface and under the pink you'll find white, orange, grey, and finally bright yellow paint.

Purchased plain white T - shirt of good quality (in grandma's size and toddler size) Different colors of fabric paint Old plastic containers Flat work surface covered in newspaper

Roofs represent 12 percent of all surfaces citywide, Stringer said, noting that temperatures in the city would drop 2 percent if all rooftops were painted white.

If scientists can get a good handle on exactly how the thermal effects play out, they could steer a threatening asteroid into a safe orbit just by painting parts of its surface black (to absorb heat) or white (to reflect).

A vertical cylinder with spiraling red and white stripes painted on its surface is made to spin on its long axis.

«Yes, the surface consists of nanotubes, but basically nanotubes are just a thicker form of the native oxide, which is the same as the white pigment that you find everywhere: in food, toothpaste, cosmetics, multivitamin and multimineral supplements, paints — all kinds of products,» she said.

I'm leaving the horizontal surfaces in walnut and painting the rest white.

To cover your Easter eggs in a layer of glitter, simply coat the entire surface of painted or unpainted eggs with all - purpose white glue.

Pure White Chalk Paint Red latex paint (I already had it, otherwise I wouldn't have used latex) Modern Masters gold metallic paint Purdy paint brush FrogTape for delicate surfaces (my favorite for painting projects) Yardstick This stencil (I only used the crown) Overhead projector for transferring the «Telephone» graphic (created in PicMonkey and printed onto clear transparency paper) Sharpies for outlining the letters and black paint for filling in the letters

The coat of gesso is not absolutely necessary, but it gives a nice smooth surface to the paper mache and you have to use less white paint.

Here's a breakdown of what we did» * painted cabinets * got new knobs and pulls * changed out some drawers and made modifications to a few cabinets * added crown molding to the top of the cabinets * added lighting underneath the cabinets * replaced the counter tops with granite * tiled the backsplash * got all new appliances * purchased all new lighting fixtures * rebuilt the pantry * added a wall of cabinets including a desk area * leveled the bar countertop to make it one large surface * painted the interior of our home * replaced the old tile on our fireplace with stacked stone * replaced our white sink with a new stainless steel one

Step 1: Lay your necklace flat on a surface of your choice (I used a paper bag) and lightly spray your white spray paint until it's evenly coated.

-- Cricut Explore cutting machine — Cricut cutting mat — freezer paper or Cricut vinyl — pillow cover, to create a cover see the instructions HERE — iron & ironing surface — white acrylic paint — round foam pouncer brush or 1 ″ foam paintbrush

If you prime first and then want to distress the edges to create an aged look, you will see the white layer of primer show up on your painted surface.

For my shelves I used 1 pint of General Finishes Snow White Milk Paint, 1 pint of General Finishes Basil Milk Paint, a double sided sanding sponge to roughen up my surfaces, premium finishing brushes, Green ® Painter's Tape, Annie Sloan Chalk Paint in Duck Egg Blue and Chalkboard paint.

So, Annie Sloan herself suggests using Country Grey as a base over surfaces that are dark and that you are painting with Pure White.

(Herbert Danska, 1970) Ruskin (1975/1997), The Painting (1972/99), Robert Beavers Shape of a Surface (Nazli Dinçel, 2017) Seven Days (Chris Welsby, 1974) Sous le soleil (Rose Lowder, 2011) Star Spangled To Death (Ken Jacobs, 1956 - 2014) Ten Mornings Ten Evenings and One Horizon (Tomonari Nishikawa, 2016) The Children's Trilogy (Joseph Cornell, 1940 - 69) The Crack - Up (Jonathan Schwartz, 2017) The Illiac Passion (Gregory J. Markopoulos, 1967) The Killer is Loose (Budd Boetticher, 1956) The Patsy (Jerry Lewis, 1964) Three Portrait Sketches (Margaret Tait, 1951) Ticino (Friedl vom Gröller, 2017) Trópico desvaído (Valentina Alvarado, 2016) Twin Peaks: The Return (David Lynch, 2017) What I Remember (Antoinnette Zwirchmayr, 2017) White Heart (Daniel Barnett, 1975)

The experimental techniques are: white paint printing, collage, wax and scratch, distressing surfaces, dripping paint, scraping paint, using sgrafitto, cardboard collaging and layering and digital manipulations with collage to using fabric and sewing into surfaces.

Or you might spray paint over the advertising so students have a white surface to write and draw on.

The concept rolls on specially manufactured 20 inch light alloy wheels and was painted in Diamond White Magno with a matte clearcoat to protect the surface.

The large body surfaces are painted in cool «pure white», while «malibu blue» is used as a contrasting color for the impact surfaces of the bumpers, the door mirror housings and the seam that runs parallel to the side windows.

Other improvements include new interior color options (black interior with white paint for all trims) and the addition of a new touchscreen surface that cuts down on fingerprint smudges.

Upon floating up to the surface of a microcapsule of white microbeads its upper surface is painted white, with floating up black - into black.

The local priest, surfacing from a week - long binge, lit beeswax tapers to Innocent of Irkutsk, the saint who in the 1720s had repaired the road to China and was now about to bring civilization to Prigorodnaia in the form of a ribbon of macadam with a freshly painted white stripe down the middle.

All around us are reflective surfaces that provide contrast through pigments — black pigments like carbon black, white pigments like titanium dioxide, which we can find in paints and in inks — and we're accustomed to interacting with these reflective surfaces, as they provide pleasant experiences under a wide range of lighting conditions.

Installation is quick and clean, there are no issues with mould or mildew, and the cement board is finished with an off - white vinyl surface that doesn't need painting.

Discover the land through innovative new game mechanics such as splatting paint on a white surface to uncover your surroundings.

On coloured surfaces, Cezanne made the light look cold by adding white to whatever colour he was covering, so return to the palettes we used when painting in the hot colours, and try adding 1/4 more white.

It's then given several coats of primer (very often a white acrylic primer called gesso) to seal it and prevent the oil from the paints soaking through the surface.

Barré created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.

She notes: «The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other.

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

Cage observed that the monochrome surfaces of the White Paintings, uninflected by gestural brushstrokes, reflected changes in light and shadows in their surrounding environment.

This he referred to as his «found drawing»; it created a fluidity between his painting, sculpture and printmaking: «I loved the idea that simply inking the surface of the plywood board would produce a web of white lines, if one only pressed a piece of paper against it.

In these works the colour was bleached, the paint surface smooth, and the light conceived as a revealer of detail, e.g. Girl with a White Dog, 1951 - 2 (Tate Gallery).

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

Superficie Bianca (White Surface), painted in white acrylic, is a typical example: the viewer encounters rhythmic indentations and protrusions, a delicate topography of peaks and valWhite Surface), painted in white acrylic, is a typical example: the viewer encounters rhythmic indentations and protrusions, a delicate topography of peaks and valwhite acrylic, is a typical example: the viewer encounters rhythmic indentations and protrusions, a delicate topography of peaks and valleys.

The Arundel series of paintings, begun in 1973, [11] features barely visible graphite lines and accumulations of white paint on white surfaces.

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

To prepare the ground, he covered the entire surface in multiple layers of a radiant lead white, which were then sanded down and painted again, only to be sanded anew, «until the surface became almost translucent» (M. Stevens and A. Swan, De Kooning: An American Master, New York, 2004, p. 562).

So does the less than friendly stereotype painted on a fountain's inner surface, such as booze for a Native American and the threatening face, at least to white eyes, of a black.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

A selection of Castellani's large - scale shaped relief canvases, Superfici bianche (White Surfaces), are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners.

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

In Sukiyaki Film, 1973, for instance, Conrad rapidly stir - fried film and hurled it at the screen, and in his Yellow Movies, 1972 — 73, he coated paper surfaces with cheap white emulsion paint and planned for them to be screened as slowly changing, fifty - year «films.»

[37] Robert Motherwell in his Elegy to the Spanish Republic series also painted powerful black and white paintings using gesture, surface and symbol evoking powerful emotional charges.

Around 1966, one year before Reinhardt died, I was in France doing square paintings that were all the same, with the same pattern repeated — a black circle on a white surface.