Sentences with phrase «into image production»

Not exact matches

The grandeur of their productions, the images of «success,» their «positive thinking» messages, and their offering of gifts and goods in return for donations translates the Christian message into an attractive consumer package that reflects a cultural form similar to that of media consumerism.

The grandeur of their productions, the images of «success,» their «positive thinking» messages, and their offering of gifts and goods in return for donations translates the Christian message into an attractive consumer package.

While there are many more in the process of production these felt flower fairy kits and flower crown kits are making their way into the world this month (see image above)!

The image of this unnamed person stood in a crowded bus stop in 2011, head bowed, kicked into gear Butler's new production.

Three Galleries — storyboards (divided into five sequences), concept art, and production photos (three folders)-- supply several hundreds of images in the same tiny window, user - navigated way.

If you want to dive even further into the film's production, the section «Image and Design» offers additional material, starting with «Production Design,» which is comprised of the featurette «Production Design Primer: Arthur Max»production, the section «Image and Design» offers additional material, starting with «Production Design,» which is comprised of the featurette «Production Design Primer: Arthur Max»Production Design,» which is comprised of the featurette «Production Design Primer: Arthur Max»Production Design Primer: Arthur Max» (9 min.)

... if we were around during the Gone With The Wind time, you know the production designers job was more or less the same, you still had to create what you wanted to be the image, and then you broke it down into how you produced it.

BMW's board of directors were keen to move the company's image into the future, and the initial styling sketches from 1998 by Adrian van Hooydonk were of a fastback body style - even more radical than the eventual production model.

How to Size Your Images for Ebook Production Before you upload your images into Pressbooks, you'll want to make them as small as possible while still retaining quImages for Ebook Production Before you upload your images into Pressbooks, you'll want to make them as small as possible while still retaining quimages into Pressbooks, you'll want to make them as small as possible while still retaining quality.

It's all too common for a book to go into production only to get held up because the graphics were produced by someone who didn't know the requirements of print production, or they were output at a resolution too low for printing; or the files are too small to create images the size that you want in the book, or for any number of other problems that can cause your project to come to a grinding halt.

If designers aren't familiar with the industry they can run into a long list of unnecessary pitfalls such as titles that are hard to read in thumbnail images, or covers that just don't convey the intended message as effectively as they should because of poor production values.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

With this new body of work, Deschenes furthers her inquiry into the history of image production techniques and the conditions of viewing developed in previous series, such as Zoetropes and Stereographs.

Overall, the book provides for the first time ever, through an abundance of documents and images, an extensive and insightful look into the production and reception of exhibitions that made art history.

Divided into thematic blocks, its journey alternates historically renowned figures and creators from recent generations, ranging from internationally acclaimed Catalan photographers to those who shape the image of everyday life in the city's media, in a narrated series about the social uses of photography in the production of the imaginaries that make up the visual culture of Barcelona.

The pieces on display are the result of an artistic practice involving the production of thousands of images, both computer graphics and hand rendered drawings, many of which are copies of copies: visual data layered and translated into more visual data.

Ledare structured the production of Double Bind (2010/2012) by intervening into an existing relationship triangle, positioning it as a complex rubric from which to produce two bodies of photographic images.

Working primarily in video since 2000, the artist remained deeply engaged with the politics of image production and reception, using stock footage from Hollywood films, television, and advertising to point to the exhaustion built into much of postwar cultural production.

2005 Turner Prize winner Simon Starling is known for his investigations into the hidden lives of objects and images, and his catalogues are an integral part of his production.

These three artists trace image manipulation devices like paint - brush, gradient, and alpha - mask to produce works that translate emerging vocabularies of digital image production back into analog painting and sculpture.

Local DMA assistant curator, Gabe Ritter and the exhibit organizer, Eva Rispini who is the Associate Curator, Department of Photography, at MoMA, conducted an enlightening gallery tour, providing insight into the production of the images, the works» themes and an understanding of the artist, who despite nearly 40 years of projecting images of herself into the public arena, remains (intentionally) somewhat of an enigma.

At Higher Pictures Roysdon presents a salon - style hang of her photographic projects made over the last decade, distilling her variform thinking and production into an engagement with the specific visual language of photography — its sitedness, its relationship to abstraction, and the translation of physical actions (in the darkroom) into a static image.

These images, which show the work at various stages of production, provide a rare look into Zeng's process.

Sometimes, I feel that the aesthetics related to these images are misread; we are all pretty tuned into these languages and what they can do, and I'm interested in how we might «read» these images — and the embedded infrastructure they might contain — through their production and distribution.

Appropriation and the Archive: In the early 1960s, Robert Rauschenberg and Andy Warhol began to incorporate photographic images into their paintings, establishing a new mode of visual production that relied not on the then - dominant tradition of gestural abstraction but rather on mechanical processes such as screenprinting.

Matthew Brandt's images physically incorporate the work's subject matter into his creative process, tethering conceptual creativity to material production and furthering the read.

Using Halide for the actual image processing and TensorFlow for the machine learning components themselves, Google has built its own software compiler that can optimize the finished production code into software built specifically for the hardware involved.

For example, Alcatel still hasn't provided Microsoft with a recovery image for the EU and UK versions of the IDOL 4 Pro, meaning people who have bought this phone are out of luck if they run into any issues or want to go back to the production version of Windows 10 Mobile.

Common job duties of a Videographer include: discussing requirements with clients, capturing images, using equipment such as jibs and cranes, collecting footage, editing videos into final cuts, collaborating with the production team, inserting graphics, and reviewing work according to client specifications.