Sentences with phrase «effect paints such»

Not exact matches

Years of exposure to environmental toxins such as pesticides, paint strippers and other chemicals could be having more subtle effects on the way in which genes within the sperm are tagged and used later on.

The chemical offgassing of paint is most noticeable immediately after applying it — and so are the short term effects, such as nausea, headaches, and skin and eye irritation.

But studies such as Petrovic's and Wager's linking placebo effects to real neurobiological processes have painted a more nuanced picture.

Jackson Pollock, for instance, used drums of World War II surplus paints for his splashiest effects, and he often added texture by mixing in things such as cigarette butts.

Shalat says that poor children are both most likely to be exposed to lead — from factory smelters, dust, soil and paint — and to suffer the worst effects of that exposure, thanks to poor access to health care and other resources such as proper nutrition and high - quality schools.

The glowing sphere at the top of the controller contains LEDs in a full range of colors, allowing it to simulate effects such as the muzzle flash of a gun or the paint on a brush.

As such, where he allowed his actors to do almost all of the heavy lifting in The Conjuring, notably an award - worthy turn by Lili Taylor that was never given the recognition it deserved, here he gets obsessed with painting a lot of nonsensical visuals utilizing some rather shaky CGI effects.

Even simple tasks such as mixing paint together help them to understand concepts such as cause and effect.

While prior evidence paints a mixed picture of the influence of demographic variables on leader efficacy, the overall effect of such variables seems to be weak or non - existent.185 For example, virtually no evidence suggests that school level or size, 186 teachers «age or total years of experience in education, student SES or student ethnicity, influence leader efficacy.187

She targets common mistakes, such as using too much paint and not enough water, a practice that reduces the desired transparency effect.

Because the car is so well equipped, there's only a handful of standalone options, such as metallic / pearl effect paint ($ 500), a sunroof ($ 1500 sedan, $ 1700 wagon), heated front and rear seats ($ 500) and a powered tailgate for the wagon ($ 490).

Graphically, Gravel is Milestone Italy's best looking game up to the date of its release with amazing vehicle models that crumple when colliding with other cars or trackside objects complimented by realistic track surfaces such as sand, mud, foliage and rocks in numerous environments, alongside superb weather conditions as well as lighting and shadow effects that adapt to the time of day or night the race is taking place at, while there are outstanding subtle details such as water effects from water splashes and rain, mud splashing onto the car throughout the race, sparks flying as vehicles trade paint and pyrotechnics throughout each lap particularly during stadium races.

To paint a better picture, The Technomancer seems to be a mixing pot of elements taken from titles such as Mass Effect and Fallout.

I work in all types of media from oil paint to coloured pencil and use programs such as GIMP and Photoshop to create the more distinctive effects of my drawn work.

The combination of unprimed canvas, synthetic paint mediums and techniques such as staining made it possible for them to paint in new ways, sometimes without a brush, to achieve the desired effects.

Although several sculptures employ crackle glaze and other nods to traditional pottery, the works in this exhibition are notable for the wide range of effects achieved with such contemporary materials as epoxy resin, catalyzed polyurethane, and high - gloss automotive paint mixed to the artist's specifications and applied with an airbrush.

For example, in her «Rubaiyat» series (1995 - 96) the 12th letter of the Arabic alphabet, sin, is distributed across a sheet of paper in such systematic fashion that its effect recalls the poured or dripped paint in a canvas by Jackson Pollock.

Acrylic paint is transformed to conjure up sunsets, boxes of jewelry, coral reefs and other indelible effects of light and atmosphere such as fog, shimmery afterimage and splashy crescendos.

The surreal, dream - like «cave» paintings, such as beyond all walking, imaginary cave, and pool of light luxuriate in rich palette and uncanny light effects.

Autobiographical in the modernist and realist painting tradition, his paintings depict his own personal effects that include biker paraphernalia such as jackets, boots, helmets and gloves, alongside his packets of cigarettes and books.

On October 26th, Ken Johnson's review Minding the Gap Between Rarefied and Local Art Culture states, «A video called «Intertextuality» that shows a chicken wandering around on a city street has been altered to give it the high - contrast darks and lights and the intense, fruity color of an Andy Warhol painting... The effect of such works is to conflate in the viewer's mind two habitually separated realms: that of rarefied high art and that of popular culture and ordinary life.

Centred around an understanding of how the actions of men fuel the changes and gentrification occurring in London, Sahhar uses painted avatars to look at how gendered identity and masculine characteristics inform and shape such processes — to the detriment of others and specifically, the oppressive effect this can have on the queer body and communities.

SL Such as the wind, for example, an elemental force which is only seen by its effect, and which one can detect in many of your paintings?

Many of his earliest works employ the motif of a linear arc to create a lyrical, even playful effect — exemplified in such paintings as Second Cupola Capella (1969).

The collection continues to grow, and, together with select additions, now holds over 100 Hartley drawings, two small early paintings, memorabilia such as souvenirs from his travels, ephemera including letters and exhibition programs, personal effects, and many photographs.

Tools are invented in order to achieve intended effects, such as daubers made of balled up knit fabric (which delivers flower - like forms which he then rocks into a bed of paint) or origami - like pincers that he uses to pull the spines off the monads.

Selections from Albers's own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction,») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers's prints.

With the Watercolour exhibition going on at the moment at Tate Britain at Millbank in London, watercolour expert Mike Chaplin has just produced a series of videos looking at Turners work where he breaks down some of the thought processes that went behind Turners paintings, and explores some of the techniques that he used to such good effect.

The skin is based on paintings by artists belonging to the art historical canon such as Franz Kline and Jean Dubuffet as well as images from popular culture, like manga and digital painting effects.

American Views provides a fresh look at landscape, both real and imagined, though late 19th and early 20th century paintings such as Samuel Colman's and George Henry Smillie's detailed studies of farms, and varied depictions of the effects of light on water by Martin Johnson Heade, John Henry Twachtman, and Childe Hassam.

Dual intimations of creation and destruction pulse through works such as Burst Painting, 2012, an «explosion» of radiating colour where cause and effect remain mysterious.

The effect is a version of the wonderful transfer imagery that made the paintings such panoplies of iconography, but with the harmony of the warm metallic tone to add the unity that the more colorful works sometimes lacked.

Depicted interventions in the landscape suggest corporeality through visual effects and materials, such as red paint, pigment, colored pencil, and dust.

Thus while he painted individuals from photographs, Richter's replica images were often blurred and bore nothing distinctively identifiable about the subject, an effect that forced the viewer to consider the fundamental components of the painting itself, such as composition, color scheme, and so forth, rather than leaving the viewer to identify with, or be distracted by, a picture's implied content or its emotional element of «humanity.»

Such stains are quiet, disturbing, and palpable reminders which Jusidman's paintings re-engage with a profound effect.

However chilling the effect of such government scrutiny upon his art and life, Norman's paintings stand as a testimony to his talent, determination, unfaltering conscience, and to his ultimate belief in humanity.

Riley's paintings make plain how they were made yet induce optical effects that supersede their physical qualities, demonstrating a rapport with works in Chinati's permanent collection by artists of her generation such as Donald Judd, Dan Flavin, and Robert Irwin.

Nara's works on various surfaces such as cardboard and jute on wood create different effects for the paint.

There are several new acquisitions that incorporate light, such as Vernon Fisher's The Coriolis Effect, 1987 for which the green glow of a spiraling florescent tube sitting above the panel surface suggests the painting's title and offers an ominous presence that enhances the narrative text.

The artist simultaneously embraces and criticizes such technological effects to create paintings that transcend and transform their original subject matter.

There is often a sense that the painting could implode or fall apart, such is the surface tension in The Lamp that has a subtly kinetic effect.

Selections from Albers» own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers» prints.

By exploring the fringes of high art and pop culture, Reyle creates often visually spectacular works that simultaneously confront us with a conceptual nihilism, at times incorporating everyday material such as fluorescent paint, neon light, silver Mylar and effect lacquer, most of which are usually considered as suspect in the art world.

Peter Zimmermann (born 1956) borrows the techniques of old masters such as Cranach and Dürer to create superimposed layers of paint that yield a subtly translucent effect.

The effect mixes the religiosity of tantric or aboriginal paintings with the subtle inflections of work by international modernists from around the world, such as Brice Marden or Nasreen Mohamedi.

Haring viewed himself as such an integral part of his art that he literally paints himself into the piece — in effect cornering himself in his own aesthetic world.

Other paintings, such as «Avoidance» and «Rest Stop (Oasis)» deploy shadow and double vision effects to offer momentary pauses, points of reflection and respite.

In paintings such as T -1971-R27 (1971), T -1971-R19, (1971) and T -1971-R21 (1971), the effects of a rake's teeth emphatically scraping the colored ground are palpable.

Discovering the paintings of the late Robert Berlind in «Reality Is Everything» at Lennon, Weinberg had a soothing effect on a reviewer overwhelmed with exhibitions nearby that seem to aspire more to the industrial scale of a typical Chelsea gallery space than to the meditative silence such spaces are ostensibly designed for.

Dzubas would never completely eliminate such bravura brushwork, which would come to define his future paintings to extraordinary effect.»