Sentences with phrase «larger images the form»

Not exact matches

We are engaged in all forms of document digitization, image scan & data capture, from microfilm / microfiche and aperture card scanning, to automated invoice processing, through to large format scanning and everything in between.

The myth we discovered in part gave symbolic form to the dismissal incident, helped the pastor to see his personal plight in a larger contextual scheme, and gave the members some images by which to discuss the deeply embarrassing incident with their pastor.

A newly released image of Charon, Pluto's largest moon, reveals a heavily fractured surface that may have formed when a subsurface ocean froze and expanded to split an exterior shell of ice.

Long - gone Martian rivers carried claylike materials, shown in green in this color - enhanced image, into the lake to form a large delta.

Now images taken by the Hubble Space Telescope have revealed a large cloud of hydrogen and oxygen — most likely in the form of water vapour — extending from the moon's south pole.

Unlike straight L peptides, which can be fairly easily converted to a D form, most biologically active peptides are twisted into helices, and so far there has been no good way to design their mirror - image counterparts on a large scale, said Kim.

The electron microscope images, or micrographs, showed complex crystalline structures that formed in large part thanks to the shape of the gold nanoparticles.

LEDs have been used widely for decades in other applications — forming the numbers on digital clocks, lighting up watches and cell phones and, when used in clusters, illuminating traffic lights and forming the images on large outdoor television screens.

Hubble image of a star - forming region in the Large Magellanic Cloud.

Each day's image and explanation are archived, forming what is one of the largest annotated archives of diverse astronomy images on the web.

The images of the Cartwheel Galaxies reveal many faint, more distant galaxies, which form a large superstructure and lie near the Sculptor Wall, an enormous structure of galaxy clusters that extends outwards for more than a billion of light years.

To commemorate its 22nd anniversary in orbit, the telescope helped make possible this vibrant image of the Tarantula Nebula, a star - forming region in the Large Magellanic Cloud.

While the quantitative data provided an opportunity to assess the trend of a larger number of people from diverse groups, the qualitative data allowed for a more complex image to form around the backbone of the quantitative data (as noted by Creswell, 2008).

Large images will cause the form to fail.

Unique around - the - neck form factor (see larger image).

If a large portion of the lens becomes white, it prevents formed images from reaching the retina and blurred vision results.

Shaped in the form of a Candelabra, the image is so large it can be seen 10 miles out at sea.

While the series is in no way, shape, or form still the juggernaut it was by the time of Smash 4's launch, in large part thanks to Hideo Kojima's firing, reintroducing Snake into Smash 5 could only do good for his image, and the game itself.

Below the «A,» «K,» and «E» in the word TAKEN is a graphic image consisting of a large oxblood «V» in the form of two slightly outward curved slashes.

In it's completed form, the puzzle is a large panoramic image that can be panned across from left to right.

Amy Feldman uses an economy of form to construct an image, making large - scale paintings that pivot formalism with humor.

This logic of accumulation would lead to the development of Bayrle's «super-forms,» densely composed images in which smaller units are used to build larger figurative forms.

The scope of Michael Meads» work is large, and wandering from room to room in «Bent Not Broken» at the Ogden Museum of Southern Art, his range of mediums and forms is awe - inspiring: acrylic paintings, charcoal drawings, papier - mâché masks, screen - printed images overlaid on gessoed wood panels, vivid sculptural triptychs, a small bound book of collages.

Among the very large works are BK - 002 (2006), image above, BL - 060 (2005), a twelve - foot wide blue ballpoint pen work on canvas that suggests the solid mass of a hill suspended above or dissolving into nothingness, and BL - 071 (2005), a similarly massive work that offers up another motif common to Lee's works on canvas and paper — a field of seemingly vibrating forms appears out of an expanse of markings.

As in his previous work, swift yet meticulous marks compose small forms which repeat and combine to reveal a larger coherent image.

The artist would go on to expand his production to larger serial reliefs such as R72 - 26, 1972, and R74 - 7, 1974, that reflect the apex of his production and his persistent fascination with the image - forming characteristics of light and shadow.

The resulting photographs are then made into large - scale images that take the form of wallpaper or canvas - like romantic backdrops.

His recent works take the form of large photographic grids, often including text, archive materials and moving image as multiple, composite forms of examining temporary settlements, sites of corporate development and exclusion, border territories, and geographies of extraction.

His early paintings balanced a complex but elegant pileup of images and abstract forms that could have been rendered by a large community of talented artists.

Arai is a founding member of the newly formed Chinatown Art Brigade — a group that works closely with tenant's rights groups in Lower Manhattan to create large - scale digital and video images that have been projected onto the sides of tenements in NY Chinatown.

Although he also created a static version of this work consisting of eight large panels covered in images, the «flicker» version takes the form of single - channel video in which an archive of images — from babies to Mickey Mouse, from resort hotels and the Eiffel Tower to a Nazi gathering — takes the viewer on a surreal journey, the pictures flashing by so quickly as to seem like an unconscious dreamscape.

He concentrated on elemental forms found in nature, removed from their larger contexts to create abstract images of astounding beauty and mystery.

Just as Murray constructs her paintings of many panels, she forms her drawings, most of which are large scale, from several sheets of paper that have been cropped to conform to the irregular outline of the image.

This screening series, which forms part of a larger research process, focuses on artists who engage with the infrastructural through the moving image, while also often working with other media.

Scottish Mansion Time, 2015, printed image, plywood, wood, metal sheeting, victorian painting, lampshade, industrial lamp, deck chair, boxes, hammock, netting, hook, velvet, check fabric, wooden technical parts, mirrored card, mini whiskey bottles various whiskeys, paper, wooden forms, Magic Latern, chair, wooden elephant, metal rod, wood dye, varnish, large table with steel legs, 240V light fixtures and bulbs, LED strip warm white, fixings, 243 x 275 x 275 cm, 95 5/8 x 108 1/4 x 108 1/4 ins

Using large - scale video projections, Steinkamp creates motion - and - color - filled spaces in which lush virtual images of blooming flowers, dancing trees, or purely abstract forms sway and twist as if propelled by unseen forces.

With raw canvases that are almost always linen and large - scale, contemporary abstract artist Yangyang Pan dexterously intersperses her paintings with striking splotches of dense, textured brushstrokes, characterized by unpredictable shapes and vivid hues that form her aesthetically beautiful images.

Infamous for his large installations where fact and fiction are blurred, Jakobsen primarily questions the nature of what French Marxist theorist Guy Debord termed spectacle culture: a culture in which the image becomes the new form of capital.

Alongside these rose images are large - scale photographic grids that resemble floral forms, but are comprised of close - up images of big hairy bodies.

In the late 1960s / early 1970s, Bowling's interest in decolonized space turned towards the cartographic, as he began work on his celebrated «maps» paintings — large - scale canvases onto which Bowling would paint the outlines of continents and countries, often stenciling images with personal significance onto the map, and painting over the forms with washes of vibrant color.

The images depict the large post-war housing estates of Berlin, often built in the form of tower blocks, in a fairly identical fashion.

The «Water» pictures include large - format color images that often read like artful abstractions at first glance: the dried - up Colorado River Delta in Baja, Mexico, with its lunar - like silvery gray surfaces; a great swirl of water at China's Xiaolangdi Dam on the Yellow River that brings the British painter J.M.W. Turner to mind; and an aerial picture of dry - farming land in Aragon, Spain, whose jutting organic forms suggest the shapes of Picasso or Jean Dubuffet.

These prints will be shown alongside several unique works by Roth exploring the same theme including, Reihenbild (Covered Piccadilly x9), 1968 - 70, which is formed of nine unique screenprints mounted as one large image.

According to Aperture Magazine: Turning away from straight photography in the mid-1990s, «Ruff has taken up a study of the photogram, updating the form for the digital era by creating his works in a 3 - D digital studio environment and outputting the resulting images in the large scale he tends to favour.»

On view will be a video from 1978, dozens of painted chairs, and a large series of recent works on mylar, including a 10 - foot tall image of a man proudly sporting an enormous penis and a triptych depicting three crouching, nude, spread - legged women, all painted in Applebroog's signature style of simplified human forms with bold outlines.

She has produced a major new installation, utilising large sheets of glass to make «tapestries» that form horizontal surfaces throughout the space, and a large wall mural of magazine images and toothpaste.

Several works of the latter sort will be on view in the current exhibition, including large - scale canvases that feature collaged photographs of other fans» paintings of Winehouse embedded in monumental geometric forms, or alongside magazine and picture book images of birds, planets, cannabis leaves, and architecture.

Another way to do this was to join together separate large - scale prints to form a triptych, which he did in Overpass (1988), using three prints of an identical photographic image.

The sway between a structured, observational approach to image making and the free - form, improvisational gestures of his interventions is very much at the crux of Divola's practice and can be traced from his earliest foundational work of the 1970's to more recent bodies of work such as Dogs Chasing My Car in the Desert (1996 - 2001), where Divola documents the dogs that chased his car while working in the Southern California desert; As Far as I Could Get (1996/1997), where Divola sets up a camera and runs away from it during a given exposure; and Dark Star (2008), where his melding of intervention and observation continues to be in the foreground in large - format, color work made during the last decade.»

Highlights include: Flags I Jasper Johns» richly layered 1973 screenprint, presenting an iconic image within the artist's oeuvre in its most striking graphic form; a monumental screenprint on linen, Océanie, la mer, Henri Matisse's largest scale editioned piece and a brilliant example of his use of «cut - outs»; Andy Warhol's beloved Flowers, a powerful wall of color that is his 1970 portfolio of 10; and Baby Charles Looking Over His Mother's Shoulder (No. 2), Mary Cassatt's unique pastel counterproof, portraying the artist's extraordinary ability to capture maternal love.