Sentences with phrase «hard color contrasts»

The games slick white and black art style with hard color contrasts throughout the world holds true in the sequel, and while most of the gameplay we saw was conceptual prototypes, the team at DICE seems to be holding firm with what the fans know and love with the series.

Not exact matches

I wanted to contrast the ugly black and white of the hard stones, rocks, faces and hearts of the religious system wanting to put her to death and the woman's beauty, color, softness and vulnerability.

One of the best racers was a British woman named Audrey Sale - Barker, and a description of her from a contemporary account (1929) is fascinating — if only to see how this rather pale and ethereal young thing contrasts with the sturdy, hard - schussing women downhillers of today: «Audrey Sale - Barker was very tall, extremely slim... with pale honey - colored hair, a vague, dreamy expression, and when she skied I can only describe her as a sleepwalker.

As a developmental psychologist, I am horrified to see in the photo that there is a shades - of - pink Rock - a-Stack, not only because of the absurdity of gender - typing toys by color alone, but also because it cripples the educational potential of the toy: the reduced contrast between the colors makes the rings harder to tell apart, and the use of only three colors (bottom ring is purple, center pole is yellow) reduces opportunities for basic color learning.

In this particular study, the scientists theorized that less color contrast between plate and food makes our brains work harder to figure out appropriate portion sizes.

The hard thing with wearing white jeans in the winter is that most of my tops / sweaters are darker colors making it a super harsh contrast.

It's also hard to not notice the stark color contrasting at play in director Francis Lawrence's camera.

I wouldn't order a Miata with a hard top because of the increased weight, cost, and top - lowering time, but it does look attractive, especially in a contrasting color (like the black top on our white car with black wheels).

The new version, dubbed the Sharpred for its contrasting red - black color scheme, will be available in both hard - top and convertible versions, each having a 71 - horsepower and 84 - horsepower gas engine option.

Each of these colors is combined with a contrasting Meteor Gray retractable hard top - roof plus glossy, dark - grey fashion bars.

Suggestion: It is hard to read the «Quotation» part of the story with the light color / contrast type and the black background!

Mobile displays are often used under relatively bright ambient lighting, which washes out the image color saturation and contrast, reducing picture quality and making it harder to view or read the screen.

All three have strong dark to light contrast, and all three use color contrast (yellow and blue; Odd Thomas more purple) Bared to You fits the title in nicely over the image, it would be hard to put it anywhere else.

Mobile displays are often used under relatively bright ambient lighting, which washes out the image colors and contrast, reducing picture quality and making it harder to view or read the screen.

Their screens reflect ambient light that washes out the colors and image contrast, and makes it harder to read the screen, especially with (specular) mirror reflections.

case manufacturers Australia, mirror chrome clear view case Australia, smart mirror case note Australia, iphone color full case Australia, samsung tab s2 case Australia, park case Australia, iphone brushed hard case Australia, plug case Australia, contrast color case Australia, kindle case generation Australia, macbook case felt Australia, minimalist case Australia, lenovo k5 case Australia, cheap iphone clear case Australia, alcatel pop case Australia

Douglas Melini Working with the contrast between minimal palette and intensive patterning (a dialogue that allows the paintings to be simultaneously quiet and yet deeply activated), Douglas Melini makes hard - edge abstract paintings that investigate color and space.

Initially visible as merely a chunk of marble, the sculpture ironically adopts the cube and hard sculptural materials in contrast to its soft color.

Using grain of the wood as both guide and essential component, Kirkland incorporates and contrasts the organic nature of the material with the crisp intentionality of hard - edged blocks of color.

The move towards a more hard - edge style of abstraction, the clear lines, high contrast of color and its various hues, along with the rejection of the tactile application of paint were seen as the dominant features of such movement [2].

The hard - edged lines without his usual contrasting colors and shimmering surfaces «undermine any attempt to place them firmly in the tradition of the 1960's optical art.»

Contino's early works are hard - edged geometric paintings (including shaped canvases) composed of thick lines and contrasting solid colors that divide the canvas and form intricate shapes.

The brightly colored, hard - edge dots and lozenge shapes that Larry Poons painted in the early 1960s, against expansive, monochrome grounds of contrasting tones, appear to dance on the surface, flicker and bounce, in primal rhythmic beats.

His various methods for producing optical effects on canvas, including his use of color — contrasting, physical mixing or varying proportions of just one color — in combination with other techniques, such overlapping planar shapes or lines in compositions; defining shapes with hard or diffuse edges; adding vertical or horizontal lines to activate the surfaces; and layering dots, dashes and triangles in contrasting colors on the surfaces to produce vibrational effects.

It's an ideal pairing, contrasting smooth and shaggy surfaces and hard and soft edges while drawing both artists into a rewarding conversation about color, the decorative arts, and the surprising legacies of mid-century stain painting.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

Focusing on the years 1970 - 1972, the exhibition presents a front and center look into Boyd's intense examination of paintings in vibrant colors that explored space and light through the use of hard edges and contrasting gradients.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»