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18 Sentences With "pencil crayon"

How to use pencil crayon in a sentence? Find typical usage patterns (collocations)/phrases/context for "pencil crayon" and check conjugation/comparative form for "pencil crayon". Mastering all the usages of "pencil crayon" from sentence examples published by news publications.

An eye pencil, a classic kohl formula or classic wax pencil crayon — to me, you can do everything with that.
To use the app, you select your template, your pen type (pencil, crayon, marker, etc.) and your colors, then tap away.
Similarly desperate and eloquent is "Self-Portrait I" (1937-38), a pale apparition of the artist's face in pencil, crayon, and oil.
Desmond's varied illustrations combine watercolors, acrylic paint, pencil, crayon and printmaking techniques to create ever-changing moods and spectacular scenes of Arctic life.
His current exhibition, Stanley Whitney: Drawings at Lisson Gallery (September 22015 – October 21994, 295), offers a survey of 21942 works the artist made between 20163 and 22016, using mediums such as graphite, colored pencil, crayon, and acrylic marker, and working on different surfaces, from cardboard to rice paper.
Advertise on Hyperallergic with Nectar Ads Robert Smithson, "Untitled [Pencil writes "less work for mother"/telephone cord spells "hello"/ man on orange blob]" (1963), pencil, crayon, spray paint and marker on paper, 30 x 22 in (© Holt-Smithson Foundation / Licensed by VAGA, New York, NY, courtesy James Cohan, New York)The late Robert Smithson is probably best known for his massive earthworks, namely "Spiral Jetty" and "Broken Circle/Spiral Hill," as well as for his critical writings on Minimalism, mirrors, and monuments.
Her mature work saw the development of pencil crayon colour fields and collage techniques, the latter prompted by the onset of arthritis.
A major LeWitt retrospective was organized by the San Francisco Museum of Modern Art in 2000. The exhibition traveled to the Museum of Contemporary Art, Chicago, and Whitney Museum of American Art, New York. In 2006, LeWitt's Drawing Series… was displayed at Dia:Beacon and was devoted to the 1970s drawings by the conceptual artist. He had drawn directly on the walls using graphite, colored pencil, crayon, and chalk.
Susan Te Kahurangi King (born 1951) is an autistic artist from New Zealand who found international fame in 2009. She was born in Te Aroha in 1951. King is a self-taught artist whose ability to speak declined by the age of four, and by the age of eight stopped speaking altogether. She has methodically created an entire analogous world through extraordinary drawings using pen, graphite, colored pencil, crayon and ink.
Vandalism was originally prohibited by the Minor Offences Act, which made it punishable by a fine of up to S$50 or a week in jail, but did not permit caning. As of today, the Vandalism Act imposes a mandatory caning sentence of between three to eight strokes for a conviction of vandalism. Caning is not imposed on first-time offenders who use delible substances (e.g. pencil, crayon, chalk) to commit vandalism.
Detail of ledger painting on muslin by Silver Horn, ca. 1880, Oklahoma History Center He was mostly known for his skills in working with different mediums and materials such as graphite, colored pencil, crayon, pen and ink, and water color on hide, muslin and paper. He produced over a thousand illustrations and works of art between 1870 and 1920. He developed and created very keen visuals of Kiowa culture, from traditional images, warfare, and coup counting to depictions of the sun dance, early Peyote religion, and daily life.
A sketch of Col. Strother David Hunter Strother (September 26, 1816 – March 8, 1888) was an American journalist, artist, brevet Brigadier General, innkeeper, politician and diplomat from West Virginia. Both before and after the American Civil War (in which he was initially a war correspondent), Strother was a successful 19th century American magazine illustrator and writer, popularly known by his pseudonym, "Porte Crayon" (French, porte-crayon: "pencil/crayon holder"). He helped his father operate a 400-guest hotel at Berkeley Springs which was the only spa accessible by rail in the mid-Atlantic states.
Mt Porte Crayon is indicated at the bottom of this USFS map. Mount Porte Crayon is a mountain in the Roaring Plains Wilderness of the Monongahela National Forest in the northeastern corner of Randolph County, West Virginia, USA. It rises to an elevation of , the elevational climax of the Allegheny Front. The mountain is named for 19th century writer and illustrator David Hunter Strother (1816–88), known as "Porte Crayon" (French, porte-crayon: "pencil/crayon holder"), who produced a wide array of early West Virginia landscapes in his work.
Her work was exhibited in the Royal Academy and other London galleries, and she continued to paint until she was 81. Her pictures, usually watercolours, typically contain local scenes of Petersfield which are filled with people and animals, with such subjects as The Square on Market Day, or the fair on Petersfield Heath. She also produced drawings in pencil, crayon, charcoal and pastel, including some fine portraits. Twort was a friend of Nevil Shute, who in 1925 proposed marriage to her, unsuccessfully, though they remained lifelong friends Timeline 1921-1930, Neville Shute Norway Foundation and she became godmother to his daughter Shirley Anne.
He had musical talent, and was a performer on several instruments. As an artist he sketched in pencil, crayon, and sepia, and his cattle pieces were of eminent merit. He studied geology and botany, and his knowledge of Greek, Roman, and English coins, of which he had a large collection, was considerable. He was ordained to the curacy of Hartpury, Gloucester, in August 1804, and after receiving priest's orders in September 1805, was in the following month appointed professor of classics and history in the Royal Military College, then lately established at Great Marlow, Buckinghamshire, and he removed with the college to Sandhurst in October 1812.
A variety of colored pencils A colored pencil (American English), coloured pencil (Commonwealth English), pencil crayon, or coloured/colouring lead (Canadian English, Newfoundland English) is an art medium constructed of a narrow, pigmented core encased in a wooden cylindrical case. Unlike graphite and charcoal pencils, colored pencils' cores are wax- or oil-based and contain varying proportions of pigments, additives, and binding agents. Water-soluble (watercolor) pencils and pastel pencils are also manufactured as well as colored leads for mechanical pencils. Colored pencils vary greatly in terms of quality and usability; concentration of pigments in the core, lightfastness of the pigments, durability of the colored pencil, and softness of the lead are some indicators of a brand’s quality and, consequently, its market price.
Notwithstanding the provisions of any other written law, it is an offence under the Act to commit any act of vandalism, attempt to do any such act, or cause any such act to be done. Upon conviction, the penalty is a fine not exceeding S$2,000 or imprisonment not exceeding three years, and also corporal punishment of not less than three strokes and not more than eight strokes of the cane. However, caning will not be imposed on a first conviction if the act carried out falls within section 2(a)(i) and "the writing, drawing, mark or inscription is done with pencil, crayon, chalk or other delible substance or thing and not with paint, tar or other indelible substance or thing", or within sections 2(a)(ii) or (iii).VA, s. 3.
Mikkigak’s work covered a board spectrum of subjects and themes, and was often done in pencil crayon (a medium that was particularly prevalent among Inuit graphic artists). Mikkigak’s work also consistently emphasized the sky and weather patterns, often using an aerial view for the composition. It was common for artists, including Mikkigak, to use Inuktitut syllabics at the bottom of a piece in order to explain the scene in detail, as well as to use larger formats and manipulate scale in order to convey the Arctic landscape’s expansiveness. A theme in Mikkigak and other Inuit artists’ work is the use of landscapes to represent memories connected to the represented land, rather than purely the reality of the scene depicted. Mikkigak’s drawings did not seek to abstract the landscape, despite his later images taking on a more contemporary style and tone.

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