Sentences with phrase «line spacing cuts»

If a different line spacing cuts down your total page count by 25 pages, this means more money will end up in your pocket because printing the book has just become noticeably cheaper.

Not exact matches

If there is one person who is the embodiment of hair care in the United States, he's it,» says a buyer for one major retail chain, who has cut down the number of Clairol products he carries to create space for the Vidal Sassoon line.

There are no lines of nonbeing to cut this up, since an «empty space» is a contradiction in terms on this view; and thus the field is a pure conductor.

Using cookie cutters in whatever shapes you please, cut out crackers and place them on your parchment lined baking sheets spaced about 1/2 inch apart.

Using a 1.5 inch cookie cutter, cut out your cookies and place them on your parchment paper lined baking sheets spaced about 1/4 inch apart.

With an offset spatula lift the cut out cookies onto a parchment lined baking sheet, spacing the cookies about 1 inch (2.5 cm) apart.

I assume you cut and pasted this into a word doc, so you should have been able to reduce the line spacing yourself, and also reduce the font size.

Cut out a circle in half of the rounds with a 3/4» - diameter cookie cutter and transfer to 2 parchment - lined baking sheets, spacing 1» apart.

Use a knife and a ruler (precision is key) to cut into 4x1 1/2» rectangles, then use a thin metal spatula to transfer rectangles to a parchment - lined baking sheet, spacing 1» apart.

Line a 10 - inch cast - iron pan or 8x8 inch baking dish with parchment paper, then place the rolls in the pan, cut - side down and as evenly spaced as possible.

Transfer pieces cut side up to a parchment - lined baking sheet, spacing about 2» apart.

Meanwhile the team suddenly got more space for salaries and cut its deadwood, lining up for the arrival of as good players as these two.

When Arsene doesn't get the balance right and we have Giroud as the 9 (constantly coming back to get the ball allowing the opposing back line to push forward and compress the space), and Ramsey on the wing (cutting in or drifting in to get on the ball) that's 2 of the 3 front men coming back and drifting inward, which compresses the space where Mesut operates.

But did you notice on Saturday that we actually moved the ball around a lot quicker and we stopped looking for him on the left so he can keep cutting inside and estimg up laca space I believe laca suffered a bit with him in the team as the sevice was lacking to him and it always went to Sanchez and now he is suffering from a lack of confidence He will come good and now we have an awesome front line again.

Just keep 2 tight lines centrally ans cut of space in the middle

Alexandre Lacazette fluffs his lines after Alex Oxlade - Chamberlain's crisp cut - back finds him in space to shoot from just outside the six - yard box.

Juan Carlos Osorio likes to play with a very interesting 3 -3-3-1 system which cuts all sort of passing lines for opposition but it does concede space on the flanks.

High line to deny space for opponents and provide men for high pressure near the ball and cutting down passing angles.

This is in line with the bank's determination to dominate Africa's mobile banking space with the introduction of cutting edge technology - driven products and services.

A cut through the phase space (see the orange diagonal line in Fig. 2) results in the intersections shown as red dots in Fig. 2.

Add it into your «stay sane toolbox» and mutter it aloud the next time someone cuts you off in a traffic jam, steals your parking space, jumps the line at the airport, or simply is a pain.

She recommends filling your space with the soft, smooth lines you'd find in nature, and cutting down on rough edges whenever possible.

images via Pinterest A little bit of Sunday inspiration for the last weekend (fingers crossed) of the remaining bits of residual heat — appreciating looks from Balenciaga's spring / summer line (my favorite from PFW), different silhouettes, new cuts for shorts, exposed (white) brick, bomb bomber leather jacket with zips in all the right places, slouchy potato - sackish tops, short dos, vaulted ceilings with huge light - welcoming windows, maximizing your space in living rooms vs. leaving things simple and sort of bare.

The spaces Frank and Margaret live in are established with sight lines across cuts, each shot a discrete unit, separately lighted.8 When they go out, they stand in (or against) the landscape like Antonioni characters rather than, like Richardson and Reisz's characters, emerging from and heading back into streets, alleys, over bridges, under tunnels.

Internal spaces like hallways, classrooms, and cafeterias — typically separated from each other by opaque structures like walls and doorways — have given way to open layouts that emphasize glass partitions and uninterrupted lines of sight, borrowing from cutting - edge work environments like Google's and Apple's campuses.

Interior space is very limited, even by compact crossover standards, as the sloping roof line cuts back on rear headroom and cargo and luggage space (especially in the two - door model).

These seamless clear - cut lines create a sense of open space and convey a thrillingly purist and modern feel.

Luckily some changes in font type and line spacing squeezed most of my content in without huge revisions and cuts, but my overabundance of content could have meant the need to cut and slash a lot of great content.

In addition, broker - dealer consolidation and cuts to distributor product line - ups are creating increasing competition for shelf space.

I also am part of the camp that believes this will (hopefully) cut back on the issue of queued passengers lining up on a jet way as the last group of travelers wanders about the cabin to stuff their carry - on in a compartment space, although Ben appears to disagree with this prediction.

Focusing on simple lines, gentle pastel colours and a clean - cut font, the branding gives the cafe a fresh and appealing look that translates across the physical space, signage and marketing materials, right through to the company's new website.

For «East and Beyond,» which depicts a radiant open space above a graceful mountainlike divide, she used a jigsaw to cut separate shapes, then printed the whole by a specially devised method to eliminate the white lines between them when put together.

Hubbard considers the field of vision of the camera to be a physical space with boundaries delineated by an invisible cut, the line which separates what is in and out of the frame.

Philadelphia Museum of Art, Philadelphia, USA Hannah Arendt Denkraum, International art exhibition in former Jewish girls» school, August Strasse, Berlin, Germany Transformation from our collection, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein The Grand Promenade, Emst, National Museum of Contemporary Art, Athens, Greece Into Me / Out of Me, PS1 Contemporary Art Center, Long Island City, New York, USA Infinite Painting, Contemporary Painting and Global Realism, Villa Manin, Codroipo, Italy Surprise, Surprise, Institute of Contemporary Arts, London, England Alexanderplatz Underground Station (line U2), Berlin, organized by NGBK, Berlin, Germany Metropolitanscape, paesaggi urbani nell «arte contemporanea, Palazzo Cavour, Turin, Italy Draft Deceit, Kunstnernes Hus, Oslo, Norway Group Show, Special Exhibition Space, Arndt & Partner, Berlin, Germany La Force de l'art, Grand Palais, Paris, France People, Museo d'arte contemporanea Donnaregina, Naples, Italy Eretica, Civica Galleria d'Arte Moderna, Palermo, Italy Into Me / Out of Me, KW Institute for Contemporary Art, Berlin, Germany Dedica, 20 anni della galleria Alfonso Artiaco, PAN, Palazzo delle Arti, Naples, Italy 2005 The Blake Byrne Collection, MOCA, Los Angeles, California, USA Leçon Zéro, Galerie Chantal Crousel, Paris, France Take Two: Worlds and Views, Contemporary Art from the Collection, MoMA, New York, USA Short Cuts, Bass Museum of Art, Miami, Florida, USA Drawing from the Modern, 1975 - 2005, MoMA, New York, USA On Paper, Arndt & Partner, Berlin, GermanyColleción Alfonso Artiaco, fuera de la vista, fuera de la mente, Palacio de Sástago, Zaragoza, SpainUniversal Experience: Art, Life, and the Tourist's Eye, Hayward Gallery, London; MCA, Chicago, Illinois, USA 25 Years, Anniversary Exhibition, Galerie Chantal Crousel, Paris, FranceDe lo Real y lo Ficticio: Arte Contemporaneo de Francia, Museo de Arte Moderno, Mexico Emergencies, Museo de Arte Contemporaneo di Castilla y Leon, Leon 10 Year Anniversary Exhibition, Stephen Friedman Gallery, London, England Dyonisiac, Centre Georges Pompidou, Paris, France Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco, CA; White Columns, New York, USA Material Time / Work Time / Life Time, Reykjavik Arts Festival, Living Art Museum, Reykjavik, Iceland Bidibidobidiboo, Fondazione Sandretto Re Rebaudengo, Turin, Italy Paisaje.

Solo Exhibitions 2015 If this walls had ears, Chert, Berlin Concrete Ribs, Govenhill Baths, Glasgow 2014 DOCU - PRESS 4, Frans Masereel Centrum, Belgium 2013 II Stile, with Nathan Peter, PSM, Berlin Occupying Forms, Glasgow Print Studio, Glasgow 2012 Hard edge, Soft line, David Dale Gallery, Glasgow Every friend of my friend is my friend, with Jérémie Gindre, Norma Mangione Gallery, Turin 2011 Every Which Way, Chert, Berlin The Royal Standard Presents: Cut - Fill - Skim, Liverpool Immovable Parts, with Karin Stewart, Project room 103, Glasgow 2010 Lines have edges, presented by ten til ten, 6 Dixon Street, Glasgow International Festival, Glasgow Open Space, Art Cologne, curated by Jacob Fabricius, Matthias Mühling and Heike Munder, solo presentation with Chert, Berlin 2009 Breadthless Lines, Glasgow Sculpture Studios, Glasgow Cut Line, Ten Til Ten, Glasgow Lines and Pours, Chert, Berlin 2005 The Factory, The Factory, Impact Arts, Glaline, David Dale Gallery, Glasgow Every friend of my friend is my friend, with Jérémie Gindre, Norma Mangione Gallery, Turin 2011 Every Which Way, Chert, Berlin The Royal Standard Presents: Cut - Fill - Skim, Liverpool Immovable Parts, with Karin Stewart, Project room 103, Glasgow 2010 Lines have edges, presented by ten til ten, 6 Dixon Street, Glasgow International Festival, Glasgow Open Space, Art Cologne, curated by Jacob Fabricius, Matthias Mühling and Heike Munder, solo presentation with Chert, Berlin 2009 Breadthless Lines, Glasgow Sculpture Studios, Glasgow Cut Line, Ten Til Ten, Glasgow Lines and Pours, Chert, Berlin 2005 The Factory, The Factory, Impact Arts, GlaLine, Ten Til Ten, Glasgow Lines and Pours, Chert, Berlin 2005 The Factory, The Factory, Impact Arts, Glasgow

Exhibitions (Selected) ・ Cut off my tongue (Braeburn Theatre, Nairobi, Kenya / 2012) ・ Angry birds - Gor Soudan solo exhibition (Kuona Trust, Nairobi, Kenya / 2012) ・ Cover / Recover (Belgium Ambassador Residence, Nairobi, Kenya / 2012) ・ At a glance (Kenya Cultural Centre, Nairobi, Kenya / 2013) ・ Eatings - Gor Soudan solo exhibition (Talisman, Nairobi, Kenya / 2013) ・ The poetic line (The Goethe Institute, Nairobi, Kenya / 2013) ・ Resurrection: The Fire Next Time (The Nairobi Museum, Nairobi, Kenya / 2013) ・ Always searching for something; drawings in space (Freetown pop - up gallery, Freetown, Sierra Leone / 2014)

, Times Square Gallery of Hunter College; City University of New York; «Annuale», Edingburgh; «Immovable Parts», together with Karin Stewart in Project room 103 in Glasgow; 2010: «Drinnen & Draussen» group exhibition, Chert, Berlin; «Lines have edges», Glasgow International Festival, «Open Space» Art Cologne, with Chert, Berlin; 2009: «Breathless Lines» at the Glasgow Sculpture Studios; «Cut Line», Ten Til Ten, Glasgow; «Lines and Pours», solo exhibition at Chert, Berlin.

2006 «You call this Sculptcha» Compass, Carol Elliot, 10/06/06 «KInetic / Asthetic sculpture» Eu Jacksonville, Carol Elliot, 10/5/06 «Brothers Tummy» Folio weekly, Adam Diamond, 10/10/06 «Charming Combination of quality and quantity» Atlanta Journal - Constitution, Jerry Cullum, april 2006 «Lines of Descent» Paper City Magazine, Johnathan Lerner, 11/30/06 «Long Overdue» Folio Weekly, Shelton Hull, 1/3/06 «Going with the Flow» Home Magazine, Jill Kirchner Simpson, 10 2005 «Cabin Fervor» Atlanta Homes And Lifestyles, Tara n. Wilfong, june 2005 «Art in Freedom Park», Editor Evan Levy, 2005 «Activating Space» catalog Jacksonville Museum of Modern Art, 2005 «Cutting Edge Scuptural Installation» Arbus Magazine, May / june 2005 «Artist Creations Inspired by Grandmothers Quilts» Roswell Neighbor, Joan Durbin, 6/22/05 «Amerikanishes Gansemannlein» Nurnberg Plus, Julia Lehner, june, 17,2005 «Neus Lebensgefuhl im Alten Schloss» Nurnberg Extra, Bridgett Ruf, june, 24 2005 «Man Spurt Die Liebe Dahinter» Pegnitz Zeitung, Wilfred Appelt, June 24, 2005 «Activating Space» † Folio Weekly, Shelton Hull, april 2005 «Large Vision Small Works» Atlanta Journal - Constitution, Jerry Cullum, 11/30/03 «Birds of many Feathers» Atlanta Journal - Constitution, Catherine Fox, 09/23/03 «Art Goes Postal» Atlanta Journal - Constitution, Catherine Fox, 10/23/03 «Talk of The Town» Creative Loafing, Andisheh Nourraee, 6/24/03 «Our Place» Interview HGTV nov..

Richard Serra has described his sculptural practice as being grounded in drawing: Drawing as «cut» represents the division of a sheet by a line — and, in turn, of actual space by the edge of a steel plate.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

A stack of evenly spaced linear pencil lines descends diagonally across the surface of the «raw canvas,» echoing the tilted orientation of the longest turquoise band, which cuts across the painting's upper right hand corner, «affixing» it to the ground (or what can be read as wall) beneath.

Along with the cut - out technical description of the exhibited works placed on the side window, the dotted line allows for daylight to enter the space and for people on the street to look inside.

The negative spaces between the lines are carefully cut away and are then combined to form his signature multi-dimensional, layered compositions.

His work takes the shape of blank frames with lines that cut across the negative space and form geometric patterns.

Krasner cut the drawings with scissors and knives, creating a second set of sharp lines and forms that interact with her earlier Cubist depictions of space.

As visitors walked up the steps to the Pavilion, they saw a line of roughly - cut sticks of larch wood installed in the central space, Long Line Larch (1980), and another room housed three large smoothly carved slabs of Forest of Dean stline of roughly - cut sticks of larch wood installed in the central space, Long Line Larch (1980), and another room housed three large smoothly carved slabs of Forest of Dean stLine Larch (1980), and another room housed three large smoothly carved slabs of Forest of Dean stone.

Red linear lines cut through the negative space accentuating the other forms and colors in the painting.

The hard exterior lines of the Cut Outs, which will populate the gallery space like figures at a party, mirror their stern materiality.

That room, intended to be «a space of contemplation,» is lined with wood from the felled forest; once the initial clear - cutting was complete, Paterson and a group of loggers planted the new saplings themselves, as photographed above.

In Robert Holyhead's Untitled (yellow), a variegated yellow ground is interrupted by two, flatly painted, white triangular shapes reading as cut - outs, accompanied by a vertical line of a different yellow, running along the right hand edge branching out at top and bottom into two triangles causing the yellow of the ground to recede, and creating a lively ambiguous space.