Table 2: Japan Paints
& Coatings Market Volume: Tonnes thousand, 2002-2006
Consumer awareness of the health risks associated with the use of VOC-based paints
, more stringent environmental regulations, and subsequent demand from both environmentally conscious designers, builders and consumers have led to the development of low-VOC and zero-VOC paints
in the Costume of an Espada, 1862, and Young Man in the Costume of a Majo, 1863, and, less deliberately, by the haunting Baudelaire's Mistress Reclining, 1862 (sent from Budapest), whose subject is seated in and under a voluminous white, lacy gown, the feigning paint
as lightly applied in the making of a faux princess as Velazquez had done in the painting of true ones.
Pestana said he has drawn since he could remember and began borrowing his mother's art supplies to paint
when he was about 13.
The body shop and the paint
shop are connected by an 80-in long bridge.
He says PET's solvent resistance "opens new market areas for plastics in oil- and solvent-based paints
Call it a new parent rite of passage: eager mom- and dad-to-be armed with wash buckets and paint
brushes (and credit cards) transform a drab bedroom into a cute, colorful nest for the new arrival.
Etzel sought to quantify the mercury exposures of Detroit-area families whose homes were painted
with the same brand of interior paint
The visual signature of von Plessen's paintings is his ubiquitous paint
"bar," which functions as his fundamental pictorial unit.
, there is the issue of one-component (1K) melamine-based coatings versus two-component (2K) polyurethane coatings.
Always a source for color inspiration, Pantone now offers paint
and designer-inspired products and services for consumers.
The artist, who had meticulously worked out the hanging, had placed here a sort of wild card: Jumelle (Twin), 1990, the only work in the show to include an explicit representation (a skeleton adorned with intestines, traced as if with a finger or a single small tool into the paint
of the blue, black, and brownish geometric shapes that cover the canvas), recalls a contrario the fundamental figurative dimension of all we have seen elsewhere in the exhibition.