Not exact matches
Crazy Granddad tasks players with collecting as many collectibles scattered
around the map as possible within a certain time
frame while being guided by a giant overhead arrow pointing to the next
object.
Anyone with an ounce of programming knowledge would know there are many ways to take pressure off a weaker system, maintain
frame - rate and still throws large numbers of
objects around a screen.
The game chugs a bit during intense sequences, and overly sharp
object edges could stand a heavy dose of anti-aliasing, but the balance Crystal Dynamics has struck is good overall, and sticks
around 30
frames per second most of the time.
When a driver puts the car in reverse, the camera scans the area behind and if a moving
object is detected in the area, a yellow
frame appears
around the rear camera image in the central screen and a beeping prompt sounds.
Press and hold it, and hundreds of little flickering dots start to hover
around in the
frame and look for an
object to identify.
Rather than the standard Android camera app, NVIDIA preloads the freshly - released Camera Awesome for Android, which supports features like focus tracking for moving
objects (allowing you to draw a box
around an
object and have it followed, even if it moves out of
frame and then returns) together with separating the points of focus and exposure.
In other words, viewing media that
frames women as
objects or sexual playthings, profoundly impacts how real life women are perceived and treated in the world
around us.
When you can appropriately put a
frame around something, you have a picture: the
object and its special space.
Custom framers from
around the world sent in photographs of their creative
framing projects in seven categories:
objects, mirrors, textiles, documents, art on canvas, art on paper and photography.
They are the work of Edson Chagas, a 34 - year - old Luanda - based photographer who created the spare compositions by walking
around his city in search of derelict
objects (a broken chair, a shoe) and artfully
framing ones that caught his eye against the wanly colored walls of the street.
The fascination of the familiar
objects of childhood playgrounds; roundabouts, climbing
frames, and the apparatus which form secure considered places for children's play have become Katherine's means of expression for describing her personal experiences of witnessing her own children's development as they begin to learn about the world
around them.
In these small works there are bricks, bottles, and shoes flying
around a barren landscape; engulfing waters in which figures are immersed; interiors with overstuffed chairs, dangling light bulbs, mirrors, and
framed pictures;
objects and books stacked up in piles; rolled - up compacted clusters of «stuff» extruding fingers and gun barrels; suns and balls on the horizon.
The works, which began emerging from the artist's New York studio
around 1959, were made of canvas and other fabrics, stretched over steel
frames and stitched with wire, sometimes incorporating airplane parts, war - surplus materials, laundry — conveyor belts, industrial - saw teeth, and other incongruous
objects.
The Garden Gallery features small - scale
objects and works on paper, with the lawns
around the Underground Gallery
framing a wonderful range of large - scale sculptures.
And while Hoffman and Frankenthaler might be known for abstract expressionism, Hodgkin for a more semi-abstraction related to making
objects instead of two - dimensional works (painting into and
around the
frames), and Stockholder for her range of two - dimensional and installation work, the fact remains that the finished work from these artists often reveals a trace, or truckload, of the process the artist used to get there.
The pictorial space of the work is expanded further by painting over and
around the narrow
frames, contributing to the
object - like feel of the paintings.
Utilizing a number of different supports including canvas or linen, fiberboard and marble dust panel, Olson plays with the notion of surface and
framing as constructs in his work, at times, employing handmade
frames and thick borders of unpainted surface
around a central painted field that act as both a physical edge to the painting and call attention to its nature as both an image and an
object.
Olson considers surface and
framing as constructs in his work, employing handmade
frames and, at times, thick borders of unpainted surface
around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an
object.
Even if a user has the camera on, the AI helper can create searches
around objects and text in the
frame.