Sentences with phrase «great effects artist»

Face Off follows special effects make - up artists as they participate in elaborate challenges for a grand prize and the honor of being Hollywood's next great effects artist.

Not exact matches

Whether it's the collage artist who consciously dumps scraps into disorderly boxes or the film editor who prefers old - fashioned editing technology that forces him to scroll through more footage to find the clip he thought he was looking for, all these artistic greats understand that disorder has one exceptionally valuable side effect — more serendipity.

As a skilful cook says of a dish in which there are already a great many ingredients: «It still needs just a little pinch of cinnamon» (and we perhaps could hardly tell by the taste that this little pinch of spice had been added, but she knew precisely why and precisely how it affected the taste of the whole mixture); as an artist says with a view to the color effect of a whole painting which is composed of many, many, colors: «There and there, at that little point, it needs a touch of red» (and we perhaps could hardly even discover the red, so carefully has the artist shaded it, although he knows exactly why it should be introduced).

In the name of aesthetics or audience - pleasing or just not wanting to come off as shrill, a great many artists deny themselves — and their art — both their full range of feeling and the chance to aid in the effecting of change.

To create these sequences, Malick collaborated with the great visual effects artist Douglas Trumbull, who made his name with Stanley Kubrick's 2001: A Space Odyssey (1968) and went on to Oscar nominations for Close Encounters of the Third Kind (1977), Star Trek: The Motion Picture (1979), and Blade Runner (1982).

Full Moon Fever: The Effects of Silver Bullet interviews special effects artists Michael McCracken, Jr. and Matthew Mungle, both of which tell some great behind the scenes stories.

Both the Blu - ray and DVD discs feature the great collection of new video interviews with composer Fabio Frizzi (56 minutes), actor Cosimo Cinieri (9 minutes), makeup effects artist Maurizio Trani (11 minutes), and Fulci historian Stephen Thrower (12 minutes), plus a live studio performance of Fabio Frizzi playing the main theme.

In this one - hour, nine - minute, two - second show, we hear from Fricke, Ebsen, composers / lyricists Marc Shaiman and Stephen Schwartz, author's great - great - grandson Robert A. Baum, film critic Michael Sragow, film historians Leonard Maltin and Sam Wasson, filmmakers William Friedkin and Rob Marshall, Bert Lahr's son John, actors Ruth Duccini and Margaret Pelligrini, author William Wellman, Jr., costume designer Ruth Myers, makeup artist Charles H. Schram, cinematographer Peter Deming, visual effects supervisor Craig Barron, sound designer Ben Burtt,

According to gallery Director Julia Novy, «Both artists are masters who know how to use paper to its greatest effect.»

However, Cézanne's greatest legacy may be the transformative effect his work had on 20th century artists.

«Whether applying watercolor or pastel, or inking a copper plate, our artists know how to use paper to its greatest effect.»

There was also continued interest in Peter Hujar supported by his recent exhibition at the Morgan Library, along with appreciation for Gillian Wearing and Yale graduate newcomer Felipe Baeza who we have first introduced at the fair together with our more recognised artists to great effect.

[2] By the 1930s, Davis was already a famous American painter, but that did not save him from feeling the negative effects of the Great Depression, which led to his being one of the first artists to apply for the Federal Art Project.

This sense of dynamism was explored to great effect in the artist's earliest blackand - white paintings, which established the basis of her enduring formal vocabulary.

Thus is, of course, an old modernist recipe, used to great effect by abstract artists such as Paul Klee, Antoni Tàpies and Cy Twombly (on whose influence Rosa is outspoken).

In Iruka (pigment and acrylic on birch panels with liquid polymer, 2013), for example, the artist manipulates the digital elements so that they take on a configuration and sense of organic power that is strikingly similar to the effect of the ocean waves in Hokusai's seminal print The Great Wave off Kanegawa from the series 36 Views of Mount Fuji.

As such, the artist creates great dramatic visual and physical effects of height, weight and balance.

Architectural ruins was a common subject for 18th - and 19th - century artists and an especially favored theme among the Romanticists; Farm Security Administration photographers such as Walker Evans and Dorothea Lange are known for documenting the effects of the Great Depression; and most recently, an obsession with photographing urban decay has sparked an entire genre dubbed «ruin porn.»

The gallery is almost unique in London for having its own garden, a beautiful landscaped area overlooking a restored stretch of the Regent's Canal at Wenlock Basin which has been used to great effect for installations by gallery artists such as Yayoi Kusama and Alex Hartley (A Gentle Collapsing II, 2016, pictured).

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

«Many great women artists have suffered from the shadow effect, they have been out of public view until their 60s and 70s,» she said.

And so it remains in the 21st, with a new generation of established artists using the medium to great effect.

Yet, even that artist's seeming flatness is enlivened, in «Painting with Statue of Liberty,» by «great brush control and other effects.

The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inferior to the photograph and many turned to photography as careers; within nineteenth - and twentieth - century art movements it is well documented that artists used the photograph as source material and as an aid — however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations; [8] and through the photograph's invention artists were open to a great deal of new experimentation.

The current show presents a looser, less highly - wrought body of work; there is still the palpable sense of watching an artist think through every mark, but there is also a greater lyricism to the final effect.

He was also influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a divine revelation, and by the melancholic Mannerist German artist Adam Elsheimer (1578 - 1610)- an inspiration to both Rubens and Rembrandt - whose lyrical landscapes and nocturnal scenes showed great sensitivity to the effects of light.

Though she cites remarks to this effect made decades earlier by one of Frankenthaler's great champions, the critic E. C. Goossen, her essay was derided by many of the artist's defenders.

With The Ethics of Scrutiny Wright has selected material by artists, writers, scientists and others which she has interwoven among Freud's paintings to great effect, exploring the human psyche and the challenges of its representation.

All my favorite artists had this effect on me over the years - Saul Steinberg, Ralph Steadman, Louis Armstrong, Hogarth, Keith Haring, John Milton, James Joyce, TS Eliot, Lester Young, Barbera Kruger, Willem De Koonig, Edward Gibbon, the now - anonymous builders of the great Cathedrals - they all reached me inside and told my innermost being to raise my game.

Cages, cells and small rooms — the notion of the contained space has been used to great effect by artists over...

Sandler was keen to stress the intelligence of the artists, and how they were able to articulate their ideas to great effect.

As with any great graphic novel, artist Keith Mayerson and author Dennis Cooper understand the work as a visual and lyrical rhythm rather than a series of individual pages; the effect, when seen spread out in rows across three walls, is a transformation from linear narrative to a score of washes, scratches, and text.

Perversely, smog became a tourist attraction and many artists flocked to great cities such as London to observe and paint the effects it caused.