Sentences with phrase «colour images of the surface»

CaSSIS will provide high - resolution 3D colour images of the surface of Mars that will help us to understand the processes occurring at the surface (or within the subsurface) that may be contributing to trace gases in the Martian atmosphere.

Not exact matches

This directs the coloured film to the regions of bare surface between the fingerprint deposits, thereby creating a negative image of the print.

The instrument will obtain stereo images of the surface in colour at a resolution of better than 5 m.

«The images have confirmed the sensitivity of the instrument and are sharp,» says Antoine Pommerol, co-investigator of the Colour and Stereo Surface Imaging System (CaSSIS) of the Center for Space and Habitability (CSH) at the University of Bern.

In this way, the surface of the material can be tuned so that each pillar reflects a different colour, ultimately allowing different images to be printed (Science Advances, doi.org/b6tw).

Most of the images from Rosetta have been in black & white, so these colour ones are a nice change and show incredible detail, including patches of water ice on the rocky surface.

The Mars Camera, officially known as CaSSIS (Colour and Stereo Surface Imaging System), aboard the European Space Agency «s ExoMars Trace Gas Orbiter (TGO) captured its first high resolution images of...

«Koi», a mirror Image of carp on the surface of the water, repeated and bought to life with colour filters to give a playful and exotic print.

In addition, image quality is limited by a resolution of just 1280x720 with no anti-aliasing, while alpha effects were rendered at a low resolution, textures suffered from in - surface colour banding, depth of field was mostly removed, shading was often inaccurate, and HUD elements were stretched.

Amorphous shapes, sharp - edged logos, scything blocks of colour and silky veils of tinted varnish intrude into Stubbs» picture planes, fragmenting the surface; it is as though the physicality of the works are coming up against the pixilation of the flattened, immaterial space of the digital image.

Depicting ex-military sites, industrial warehouses and transportation routes, the flat surface of the photographic image is expanded, incorporating light, metal framing and manipulated colour schemes.

The artist's subtle play between surface and depth, material and image, colour and texture registers a tension between the familiar and the unknown, akin to an experience of language forgotten and almost remembered, or a melody lodged deep in the unconscious.

He works from photographs and drawings, creating collage - like compositions, and then experiments with different ways of drawing out the aspects that interest him — whether highlighting the surface detail or distant object, or by painting a version of the image as a blocked - out negative of flat colour.

And what is so remarkable is that the very loss at its core — a portrait is a person here, but not here — is countered by the slow lyricism of the work: Gorky's mother is brought back from annihilation, held in the bounding contours and gentle colour, her momentary image indelibly fused with the painting's hard - won surface.

In contrast to his previous work, where contemporary elements act as incisions into conventional frameworks, here the planes of colour lie on the surface of the paintings as colder adaptations to the underlying image.

In Freischwimmer (2004), thin skeins of colour drift and curve, misting into dense clouds of pigment before unravelling and dissolving across the surface of the image.

The works of the three artists picture a feeling of longing as a place, a three - dimensional image, as plain, surface, material, colour, effect, taste, time, a moment of happiness, but most of all as a projection.

In Figure by a Pool (2008 - 2012) and Walking Figure by Pool (2011), which are essentially the same image painted in different colours, I couldn't help but see a slight nod to Hockney in subject matter, though whereas Hockney emphasises the harsh, bright surface of things in his swimming pool paintings, what makes Doig's paintings so distinctive is what he does to the surface — how he draws attention to and manipulates the texture and palette of his surfaces; not flattening them out, or making them uniform, but dividing them up to create intriguing and, at times, unsettling contrasts.

Similarly, in Cricket Painting (Paragrand)(2006 - 12) oil paint is laid on the canvas in acid hues of orange, green and blue, the surface flecked in places with splashes of paint, so that action of the image — a girl lobbing a cricket ball that hangs in the centre of the canvas like a white, full moon towards a boy waiting at a wicket — becomes secondary; a compliment to the dynamism and energy of the colours» relationship.

It is a changing portrait of society, pictorial space animated by the moving backdrop of the room as well as the coloured ink image which since 1973 has been directly silkscreened onto the surface.

With technical virtuosity, Glenn Brown's practice copies and modifies reproductions of works of art, imitating the painted surface in a perfect illusion, while being completely devoid of texture and further manipulating the image through variation of colours.