Sentences with phrase «creating colored scaling»

Assist Director of Ticketing by writing user manuals, supporting the event builds for Xfinity Center, Orpheum Theatre and Fenway Park, creating colored scaling maps and additional duties as necessary.

Not exact matches

More than 100 fine artists create vividly colored, large - scale, high - contrast murals on the asphalt of Main and Mercedes Streets at Town Square.

Now that there's a simple and inexpensive color display technology, Smalley and colleagues are working on ways to use it to create large holographic video displays — on the scale of room - sized displays.

But finding a simple way to generate these complex structural colors — a technique that can be scaled up and used to create many different hues — has been a tricky task.

The folks at Blue Ocean Institute, an East Norwich, N.Y. — based nonprofit that studies and promotes the world's oceans, have created FishPhone, which uses a color scale to rate fish from green to red (green being the ecofriendliest).

Pastels — The brighter shades of the color scale are surely reliable for creating a spring feeling a few months ahead.

Letts has some fine moments, but it's Winger who really brings the color to this movie, creating a woman filled with disappointment and passion and wit, taking a small - scale comedy of manners to a darker, richer place.

Actual 2015 Dodge Viper GTC buyers can create their car, and Dodge will send off a 1:18 - scale speed form Viper replica car to give the customer a more realistic experience of their design and color selections.

Melissa McKinnon (@melissamckinnonart) ART CONTEMPORARY CANADIAN LANDSCAPE ARTIST I love creating large scale paintings with bold COLOR and thick TEXTURE

The large scale Water Lily Paintings verge on abstraction and are unsurpassed in their pioneering efforts at creating viable pictorial structure from color, surface, luminosity, value, hue and chromatic shifts.

The composition is dominated by a large expanse of wood painted with the artist's iconic cadmium red, resulting in an area that resonates and reverberates with an intensity of color that is unrivalled in twentieth century art, except perhaps by the forces of color created by Mark Rothko on his large - scale canvases.

Describing his work as «long - form, visual, comedic poetry» and «glorified political cartooning,» the artist continues to use his unique background to create heroically - scaled installations, most often anchored by wall - sized, photorealistic drawings utilizing charcoal, graphite and colored pencils.

Created in close collaboration with the artist, the publication's beautifully produced color plates offer a selection of the iconic works, including Riley's first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so - called «Egyptian» palette, and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen.

Renowned for his large - scale paintings combining images from advertising and mass media with vibrant color and abstraction, Rosenquist has been credited with creating a unique brand of conceptual realism.

To create the three large - scale woolen wall hangings in Venus, Betbeze unleashes a barrage of techniques on traditional Greek carpets called flokati rugs: cutting and sewing, burning and singeing, dying with acid - bright colors.

Working in a new studio space, she has created pictures at a larger scale than was previously possible for her and which allow her to further explore the expressive potential of color.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

Contrary to these sentimental journeys, Schutz and Bernhardt have been endlessly idiosyncratic, always creating wide bandwidth variances of material, scale, surface, touch, tools, technique, color, and figuration.

Frankenthaler has worked with Pace Prints to create four Ukiyo - e plus woodcuts, including «Geisha» (2003), a twenty - three color Ukiyo - e woodcut printed from 15 woodblocks on Torinoko paper and mounted onto Fabriano Classico, as well as «Book of Clouds,» a large - scale print using a combination of aquatint, woodcut and pochoir techniques.

An early and influential pioneer of Color Field painting, Louis gained renown for his innovative method of staining raw canvases with washes of pigment to create vibrant, large - scale works.

The artist frequently works from gridded photographic stills, using the principles of pixilation to create large - scale monochrome and color paintings that range from photorealist to mildly psychedelic.

His large - scale abstract paintings feature fields of solid color with little depth or perspective, created by pouring, spraying, and sponging paints and dyes onto the canvas.

Diebenkorn returned to abstraction in 1967, soon after moving to Southern California and establishing a studio in the Ocean Park neighborhood of Santa Monica, where he created his most celebrated works — large - scale, color and light - filled abstractions.

The non-hierarchical treatment of color in Donald Judd's Menziken wall sculpture (Untitled, 1988) stems from Mondrian's experimental attempts to balance primaries according to scale, while Carl Andre's shimmering floor sculptures (Copper Sum Five, 2006 and Fifth Aluminum Cardinal, 1978) remove the hierarchy of display, creating infinite points of view.

Rhapsody, Bartlett's career - defining work, was first shown in 1976; Bartlett's most recent large - scale work, Recitative (2011), finds the artist still productively working through the possibilities offered by the grid, this time to create an epic exploration of color that references Minimalism and the rule - based systems of Conceptual art.

For her exhibition in the project gallery, Bozzi has created a series of fourteen small - scale, gouache on paper paintings that present landscapes at various times of day and season, each an intimate study in capturing the play of light and color.

After fifteen years of acclaimed abstract painting, he began creating large - scale nudes and other figural images, often in grisaille or a severely restricted color palette.

New York - based artist Keltie Ferris covers her mostly large - scale canvases with layers of spray paint and hand - painted geometric fields, creating the effect of brightly colored digital screens dissolving into pixels.

Although he may be better known for his larger - than - life - sized, grisaille, figural paintings, Alfred Leslie spent the 1950s working in an abstract expressionist vein, creating paintings of explosive color as well as small - scale abstract works on paper.

A main proponent of color field painting, Davis worked on canvas and paper, and also created large - scale public artworks, and light sculptures.

Using large - scale video projections, Steinkamp creates motion - and - color - filled spaces in which lush virtual images of blooming flowers, dancing trees, or purely abstract forms sway and twist as if propelled by unseen forces.

David Hilliard creates large - scale multi-paneled color photographs, often based on his life or the lives of people around him.

Each painting is of similar scale and construct, and the colored surface is created by applying hundreds of coats of paint that he individually mixes using gold, silver, platinum, and diamond dust, and a variety of pigments and oxides on birch board with edges cut at a 45 ° angle and standing off the wall.

As Veronique Ansorge, Associate Director at David Zwirner Gallery (New York / London) explained, Ruff creates these shapes and lines in his computer, digitally manipulating color and light to create his large scale abstract compositions.

Bold color, high - contrast abstraction and repeated patterning create elaborate and visually arresting graphic pieces of intimate and oversized scale.

His large - scale untitled compositions are easily recognized for their vast, often monochromatic, impasto - like surfaces and jagged bursts of color stretching along the vertical axis, creating an illusion of ripping the canvas apart.

Other featured artists include Anita Arliss, whose mixed - media canvases are included in the permanent art installations at Hartsfield - Jackson Atlanta International Airport; Bethany Collins, who recently completed a residency at the Studio Museum in Harlem; and Justin Rabideau, who salvages wood from new construction sites and houses on the verge of collapse to create scaled pieces — from very tiny wall pieces to very large installations and large - scale sculptures — for his brightly - colored «Shim» series.

Expressing issues that defined the political, social, environmental, and economic crises of the era, the Chicago Imagist artist used luminous color, silhouetted figures, stylized natural forms, and dramatic shifts of scale and perspective to create provocative works of art.

They will work together to design and create large - scale drawing and mural projects while learning about color, style, process, site - specific installation, and collaboration.

Since 1990, Levine has created groups of closed - system paintings that embrace the following elements: off - square painting supports of modest scale and varying depths, small borders to amplify the paintings» complex surfaces, a variety of media (oil, gouache, flashe), and a palette of primary colors.

Working in a mixture of commercial house paint and alkyd medium to create a multi-layered surface, the artist combines bold color and grand scale, employing a geometry that obfuscates meaning even as it seems to describe the workings of a complex system.

Ilene Sunshine brings the outdoors in with her use of twigs and branches and cleverly reimagines the detritus of found plastic bags in a colorful large scale site specific installation which bisects the gallery space creating a wall «of air» and pays homage to and playfully subverts formal concerns of mid century modernism and color field painting.

In Utopias, Unmoored, Leinberger creates a series of photographs and videos of small - scale islands of urban settings constructed out of unstable and inexpensive materials — foam, colored paper, wood pieces — in the water.

In the 1970s, attempting to free himself from what had become a signature style, Loving began destroying his hard - edged cube paintings and stitching the torn strips of canvas together to create large - scale, brightly colored geometric compositions, an action that echoed the quilting he had studied as a child.

Nassos Daphnis, a Greek - American artist who deployed brilliantly colored geometric forms in precise formal relationships to create nervous, dynamic paintings on a heroic scale, died on Nov. 23 in Provincetown, Mass..

«Doubles, Pairs, and Diptychs» highlights three modes of Wesley's painting practice: paintings that extend beyond a single canvas; individual works that are conceived formally or conceptually as pairs; and individual works that have virtually identical compositions in which small shifts in color, scale, and line create distinct visualizations.

Through experiments with scale, color, material, and space, the exhibition will create an immersive environment that raises questions about art and display and enables fresh takes on the specific works.

Over a scale of nearly fifteen feet, its leaf - like patches of warm color create an armature of interlocking X-shapes.

These paintings, created in multiple small - scale series, allow for repeated methodical experimentation with specific color fields and patterns, shifting away from the monumental scale of midcentury abstraction.

More recently, Boelens has made a series of large - scale photograms, using various objects or textiles that are folded repeatedly over the duration of the exposure and create radiant fields of color.