Illustrative tricks — the frame within the frame, and the simple
drop shadow effect (reminiscent of
Illustrative tricks — the frame within the frame, and the simple
drop shadow effect (reminiscent of Laura Owens's self - conscious shadowed strokes) replace notions of craft, sentimentality, and decoration with less touchy - feely notions of technique, illusion, and scale.
Not exact matches
Avoid all text
effects, like
drop shadow, gradient, stroke... place the text in parts of the picture that make it stand out naturally (put white text in dark areas, dark text in light areas).
It's certainly true that perhaps 70 % of the dispersion of returns over a 5 - to - 10 year period are driven by macro-economic factors (Putin invades - > the EU sanctions - > economies falter - > the price of oil
drops - > interest rates fall) but that fact is not useful because such events are unforecastable and their macro-level impacts are incalculably complex (try «what
effect will European reaction to Putin's missile transfer offer have on
shadow interest rates in China?»).
Graphically, Destiny 2 is stunning throughout its diverse environments which are fully realised by excellent particle
effects on everything from dust and weather to explosions, complimented by amazing lighting,
shadows, enemy character models and weaponry as well as a day - night cycle running at a rock solid 30 frames - per - second on PS4 with no
drop in frame rate regardless of how many enemies are nearby at once.
However the dozens of ports of the game left out these lighting
effects in favor of using
drop shadows instead, until now.
In an untitled 1997 abstract seascape that is mostly blue sky, she painted two thick black lines (birds) with
drop shadows for a trompe l'oeil
effect.
And throughout there are
drop shadows, generally considered tacky, that create delicious trompe l'oeil
effects, causing whatever shape or mark they
shadow to float forward.
Her use of Illustrator and Photoshop is visible in the enlarged gestural sweeps and signature
drop -
shadow effects of finished works, and while many tag the work as «painting in a digital age,» her paintings are decidedly physical.
As evidenced by the paintings in her current retrospective at the Whitney, she keeps a toolshed of
effects and objects —
drop shadows, large modernist grids, drips, bicycle wheels, squiggles, text, impasto that rivals cake frosting, and even wallpaper — that appear predetermined to keep every possible idea of «mark - making» alive.
LG has also
dropped a lot of the
shadows and crazy colors, simply going to a flatter overall look with splashes of a turquoise color for
effect here and there.