Sentences with phrase «as visual marking»

As visual marking (claw marks on wooden surfaces) also encourages a cat to replicate this behavior in the same place, the only way to prevent more scratching is to sand and paint over the surface.

Not exact matches

So, it remains appropriate that as the hologram marks more than 70 years since its invention, the technology remains as pertinent as ever, continuing to go from strength - to - strength as an effective packaging device, demonstrating the highest standards of visual appeal, quality, creativity and technical ambition.

If you choose to use the European leaf mark, it must be placed on the product, with the certifier code number and origin of the raw ingredients in the same visual field as the mark.

They often do better with visual reminders, such as a calendar with dates checked off to mark the passage of time.

It is in this third trimester that stretch marks begin to show on your bellyl In addition, 38 weeks pregnant signs include swelling in your ankles and feete This is quite normal, but if there is excessive swelling or puffiness in your face or around your eyes, you should call you doctor without any delaya Also let your doctor know if you have any headaches that persist or visual changes such as blurred vision, flashing lights, or spots or loss of vision (temporary) y Using a 38 weeks symptoms pregnancy calendar gives you all information you need to know about being 38 weeks pregnantn Some other symptoms include diarrhea, itchy abdomen, difficulty sleeping, enlarged breasts and colostrum, and fatigue or extra energyg In the 38 weeks, baby symptoms include the baby shedding its skin - protecting lanugo and vernixi Also, 38 weeks fetus signs include the fetus producing a substance called surfactantn Your baby is not so little by now and weighs almost 7 pounds and is about 20 inches in lengtht Around this time your baby is also fine - tuning its nervous system and brain and also adding on body fata

In keeping with this view, Mark Loewen, a co-author of the study claimed that, «The amazing horns of Nasutoceratops were most likely used as visual signals of dominance and, when that wasn't enough, as weapons for combatting rivals.»

If the visuals match up, Zoosk will mark the profile as «verified.»

And rightly so as film noir marks a distinct period in American filmmaking that has its own visual flair and unique tendencies.

Jonah Loop, a visual effects supervisor on such pics as «Collateral» and «A Perfect Getaway,» is making his directorial debut with the film, while MPCA's Brad Krevoy and Mike Callaghan are producing with Mark Williams.

Little visual themes — such as the way that Braff's characters initially seem to be physically marked by their experience and humiliations — give way somewhere along the line to far more standard, almost obligatory, shots of our heroes in a swimming pool, fully dressed in a two - person tub, and warming themselves before a contemplative fire.

Schwentke tries to invest visual energy in his latest attempt to prove his big - budget credentials — and in the movement and placement of cinematographer Alwin H. Küchler's (Hanna) roving frame, as well as the frenetic assemblage of shots by editor Mark Helfrich (Tower Heist), his endeavour shows signs of approaching success.

It was also a period in which Schepisi started to come to terms with the pragmatics of international filmmaking, a set of lessons and experiences that have marked his subsequent, tenacious career as both a jobbing director — he has taken over a number of projects such as Mr. Baseball (1992) and Fierce Creatures (1997)-- and a filmmaker whose work displays an intermittently consistent thematic and visual style.

Vilmos Zsigmond and László Kovács, the Hungarian cinematographers who left an incredibly deep mark in Hollywood as they helped carve the visual identity of the...

It's tempting to mark moments in the Spy Kids 2 that are just sequel magnifications (the second set of spy kids, the increase in visual gewgaws), but Rodriguez deserves the benefit of a doubt — best to expand this innovative little franchise into an epic that should be taken as a whole once the third instalment is complete.

The authors argue visual literacy is especially important for primary school aged children, as they are making the transition from «viewing and speaking to formal language acquisition and incorporate the rules of speaking and writing, and from making marks and drawing to letters, language and text - based learning».

The four elements posit LD as: 1) heterogeneous; 2) intrinsic or neurobiological; 3) marked by a significant discrepancy between learning potential (measured intelligence) and academic performance (measured skills in reading, writing, mathematics, and oral language); and 4) not caused by cultural, educational, environmental, or economic factors or by other disabilities (such as mental deficiency, visual or hearing impairments, or emotional disturbance).

It's a dramatic score that was inspired by a piano that the visual artist Mark Bradford created as part of the Steinway Commission project.

Every time that my students lined up to go to another class or outside for recess, this punctuation display was there as a visual cue and reminder about the rules for using punctuation marks.

By riding the Streetfighter or driving the Abarth, you mark yourself as a member of the cognoscenti, one for whom visual and aural expression is massive capability unto itself, for whom this expression signifies stealthy power; so the occasional lapse in utility may be forgiven.

Note, though, that home inspections are subjective and, generally, will only uncover problems that arise from visual cues, such as water marks found on a wall.

Cats scratch to «mark» their territory by leaving behind visual markers as well as scent markers from small glands in the pads of their feet.

Scratching posts provide a visual and olfactory mark, as a means of territorial communication.

Scratching is also used as a marking behaviour, by depositing a scent from the pads area, which combined with the visual marks acts as a territorial message to other cats.

These distances should be clearly marked in the video with visual markers such as cones, colored tape, or other items.

One of the main reasons why adult cats scratch on things is to mark their territory, which gives a visual notification that something is theirs, as well as leaves their scent (cats have scent glands in the pads of their paws).

The scratch marks also serve as a visual sign.

Cats scratch to «mark» their territory by leaving behind visual markers as...

Unsocial cats are given an ear tip, a permanent visual identifying mark, at the time of surgery to identify them as an altered, owned, and cared for cat.

While few expected the game to rival the 360 version's visual splendor, question marks remain over just why the game looks as poor as it does.

Its gorgeous visuals (made with real scissors and cloth) clearly mark Treehouse as a mobile studio with imagination at its heart.

Featuring stunning, cel - shaded visuals, Vita - tailored controls, and gravity - based gameplay, it's no wonder that reviewers across the Pacific have awarded the game (known as «Gravity Daze» in Japan) high marks.

More than just a great visual trick in the second game, and aside from just being part of the past two games, it has become a franchise icon; a poetic representation of a sword slashing through the air as the ninja wielding it disappears — the scarf's trail a tracer marking only their disappearance.

Lipovsky is a visual effects veteran who was discovered as a contestant on Steven Spielberg and Mark Burnett «s short - lived reality series «On the Lot,» which saw 16 aspiring filmmakers compete for a development deal with DreamWorks.

There's a visual representation of this as the black mark creeps up her arm, but in my playthrough — despite one particular section — I never got to the stage where this black mark reached her head.

[Update: Xbox marks the spot as Sea of Thieves comes ashore on Xbox One X, bringing a native 4K resolution and stunning HDR visuals.

For generations, artists such as Mark Rothko, Yves Klein and Kazimir Malevich have attempted to locate and convey a certain ethereal quality within a space of visual absence, one that abstract painter Peter Halley defined as a «serenity or radiance».

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

Bridging painting and sculpture, the works formally address Miles» combined preoccupations with three - dimensional form and forming, material presence and spatial actuality, texture and surface, as well as color, mark, light, and visual effect.

Few contemporary artists have developed a visual vocabulary as immediately recognizable as the Chicago - born artist Christopher Wool's — and what's remarkable is that he was able to achieve this distinction across a number of different series, from his influential text paintings to his elegantly minimal canvases marked by fences and other repetitive forms to his dynamic gestural abstractions that borrow from graffiti culture.

He explores the relationship between past and present and the visual memory's function within this; his paintings have been described as marking the process of déjà vu, he investigates how memory produces in the present as opposed to solely being something of the past.

Iglesias, F.Meisenberg, B.Ruais, K.Thorne, J.VanDyke / Abrons / 466 Grand / thru 12/20 Kaari Upson / Ramiken Crucible / 389 Grand / thru 12/14 Matt Connolly / Essex Flowers / 365 Grand / thru 1/4 Opening 11/21 Keumnin Lee / Shin / 322 Grand / thru 11/30 Ulf Puder; Bettina Blohm / Straus / 299 Grand / thru 12/12 Amy Lien & Enzo Camacho / 47 Canal / 291 Grand — floor 2 (new location) / thru 12/21 Bright Matter: LAb [au]; Numen / For Use; Joanie Lemercier; Nonotak; François Wunschel / Guepin / 83 Orchard / thru 1/11 Opening 11/21 Kiki Kogelnik / Subal / 131 Bowery / thru 12/19 Brad Troemel / Tomorrow / 106 Eldridge / thru 11/30 (extended) The Contract / Essex Street / 114 Eldridge / thru 1/11 Opening 11/21 Reception 11/22 Foster Mickley / Munch / 245 Broome / thru 12/21 Opening 11/21 Robin Kang; Duhirwe Rushemeza / Tabacaru / 250 Broome / thru 12/9 Michelle Lopez / Preston / 301 Broome / thru 12/21 Alexander Tovborg / Beauchene / 327 Broome / thru 12/21 Mary Ann Aitken; John Maggie; Jonathan Rajewski / Hanley / 327 Broome / thru 12/21 Guglielmo Achille Cavellini / Whitebox / 329 Broome / 11/1 thru 11/30 Yui Kugimiya / Marlborough / 331 Broome (third NYC location) / thru 12/21 Opening 11/20 Lily Ludlow / Canada / 333 Broome / thru 12/14 Ulrike Theusner; Paul Brainard / Lodge / 131 Chrystie / thru 12/14 Cristina Vergano / Woodward / 133 Eldridge / thru 12/21 Nayda Collazo - Llorens / LMAK / 139 Eldridge / thru 11/30 James Hoff / Callicoon / 49 Delancey / thru 12/21 Noam Rappaport / Fuentes / 55 Delancey / thru 12/21 XYZ collective / Brennan & Griffin / 55 Delancey / thru 12/21 Jana Winderen & Marc Fornes / Storefront for Art & Architecture / 97 Kenmare @ Centre / thru 11/21 Maya Bloch / Thierry Goldberg / 103 Norfolk / thru 12/21 Josh Faught / Cooley / 107 Norfolk / thru 12/21 Joseph Montgomery / Gitlen / 122 Norfolk / thru 12/21 My Big Fat Painting curated by Rick Briggs; Fred Gutzeit / Morris / 163 Chrystie / thru 11/23 (extended) Closing Reception 11/20 (7 - 9 PM) Mark Joshua Epstein / Morris project space / 163 Chrystie / thru 12/20 Opening 11/20 (7 - 9 PM) Addie Wagenknecht / Bitforms / 131 Allen (new location) / thru 12/7 David Mramor / James / 143b Orchard / thru 12/7 Angelo Volpe / Krause / 149 Orchard / thru 12/8 Beatrice Scaccia / Cuchifritos / 120 Essex (SE corner of market) / thru 11/30 Tommy Hartung / On Stellar Rays / 1 Rivington / thru 11/30 Valeska Soares / Eleven Rivington / 11 Rivington / thru 11/23 Bill Traylor / Cuningham / 15 Rivington (new location) / thru 12/6 Micki Pellerano / Envoy / 87 Rivington / thru 11/23 Do the Write Thing: Read Between the Lines / Berst / 95 Rivington / thru 12/20 Guglielmo Achille Cavellini / Lynch Tham / 175 Rivington / thru 12/21 Jessica Rankin / Salon 94 / 1 Freeman Alley / thru 12/21 Red, Yellow and Orange: Ford Crull; Debra Drexler; Peggy Cyphers / Van Der Plas / 156 Orchard / / thru 12/31 AS IF: Abigail Donovan; Troy Richards; Robert Straight; Peter Williams / Novella / 164 Orchard / thru 12/6 Raquel Rabinovich / Y / 165 Orchard / thru 12/23 Opening 11/21 Tai Ogawa / Matsumiya / 153 1/2 Stanton / thru 12/31 Magnolia Laurie / Frosch & Portmann / 53 Stanton / thru 11/23 Forces at Play: S.Crider; B.Gardner; M.Keller; J.Mellon; L.Rablin / Molly Krom / 53c Stanton / thru 11/30 Valeska Soares / Eleven Rivington / 195 Chrystie (second location) / thru 11/23 Sara Goldschmied; Eleonora Chiari / Lorello / 195 Chrystie — floor 6 / 11/19 thru 1/25 Reception 12/11 Kader Attia / Lehmann Maupin / 201 Chrystie / thru 12/13 George Horner thru 12/6, Henry Mandell thru 1/10 / Charles / 196 Bowery Lili Reynaud - Dewar thru 1/25; Chris Ofili thru 2/10; etc. / New Museum / 231 - 235 Bowery Takeshi Murata / Salon 94 / 243 Bowery / thru 12/21 Heinz Mack / Sperone Westwater / 257 Bowery / thru 12/13 Notes on Undoing / Garis & Hahn / 263 Bowery / thru 12/20 Opening 11/20 Charles Dunn / Rucker / 141 Attorney / thru 11/26 Serge Alain Nitegeka / Boesky East / 20 Clinton (new, third NYC location) / thru 12/21 Matthew Fischer / Junior Projects / 139 Norfolk / thru 12/21 Pierre St - Jacques / Station Independent / 164 Suffolk / thru 12/14 Aki Sasamoto / JTT / 170a Suffolk / thru 12/14 (Performances 12/12 @ 6 PM) Sara Greenberger Rafferty / Uffner / 170 Suffolk / thru 12/21 Matt Hoyt / Bureau / 178 Norfolk / thru 12/21 Stuart Shils / Harvey / 208 Forsyth / thru 12/21 Opening 11/19 Arianna Carossa / Rooster / 190 Orchard / thru 1/4 Opening 11/25 Greer Lankon / Participant / 253 E Houston / thru 12/21 Henry Flynt / Audio Visual Arts / 34 E 1st / thru 11/23 (extended) Joel Holmberg / American Contemporary / 4 E 2nd / thru 12/19 Early Man / The Hole / 312 Bowery / thru 12/28

They might include towering industrial landscapes by Edward Burtynsky with Koch and, among Discoveries, garage interiors wide open to the light by Mark Lyon or walls as visual collage by Andy Mattern, both with Elizabeth Houston.

Rothko Gets Museum in Native Land — Color Field painter Marcus Rothkovitz, better known as Mark Rothko, will have a museum dedicated to his work in his home country of Latvia, where he was born in 1903, to serve as both a historical commemoration and, as the late painter's son Christopher Rothko states, «a center for living art that will help promote visual art in the region.»

A solo exhibition at NYU's Grey Art Gallery explores Mark Mothersbaugh's lesser known creative practice as a visual artist.

From the visual representation of time (known by Latham as the «quantum - of - mark») in the early spray paintings and One - Second Drawings, to the book reliefs of the 1960s, the roller paintings of the 1970s and the late glass tower works which incorporated bits of all theorems, John Latham maintained a steadfast devotion to exploring the most complex cosmological ideas and questioning the traditional notions and structures of art, science and philosophy.

August 1, 2011, marks the day that Clara Kim, the outgoing gallery director and curator of Los Angeles's REDCAT, officially begins her new post as Senior Curator of Visual Arts at the Walker Art Center.

The artworks included in this small, focused, survey exhibition encourage conversations surrounding indigenous cultural practices such as mark - making and mapping; visual representations of settlement and expansion; and depictions of changes to the landscape brought about by colliding cultures.

In his latest collection of poems, How To Be Drawn, Hayes, a visual artist as well, also reflects on identity via the act of drawing, the basic impulse to make an illustrative mark and the concept of being the subject of a drawing.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Visual and conceptual relationships within the work may be subtle, inviting viewers to carefully consider abstracted forms, mark - making, as well as juxtapositions of natural and interior patterns and palettes...