Sentences with phrase «material surface of the work»

In painting, photography, graphical perspective and descriptive geometry, a picture plane is an image plane located between the «eye point» (or oculus) and the object being viewed and is usually coextensive to the material surface of the work.

Not exact matches

Designed for wearing at work but flexible enough for a quick hike around town as well, the Santiago shoes use materials made mostly of leather with a rubber sole that can handle slick icy surfaces.

Nanotech works primarily in the security and anti-counterfeit industry, developing materials that use reflective surfaces and colours to provide a better way of authenticating a product.

Frank Madena, R&D Surface Technologies & Materials, Head of Quality Management at EMSA, comments: «EMSA's dedicated team works hard every day to develop products that make life at home and on - the - go simpler and more beautiful; all underlined by a commitment to sustainability.

«We can control whether the carbon forms one or two monolayers on the surface of the material by manipulating the intensity of the laser and the depth of the melting,» says Jay Narayan, the John C. Fan Distinguished Chair Professor of Materials Science and Engineering at NC State and senior author of a paper describing the work.

The results of this work could lead to the ability to design materials that have extensive surface areas that can be used in batteries as high durability silicon electrodes.

A team of biomedical engineers and materials scientists at Northwestern University have invented a glue that behaves like the adhesive on a Post-it note, with the advantage that it also works on wet surfaces.

Mr Lu added: «Our paint worked extremely well for a variety of surfaces in tough conditions which were designed to simulate the wear and tear of materials in the real - world.

«It's the kind of work that you love to see in science,» says surface and materials chemist Greg Ferguson of Lehigh University in Bethlehem, Pennsylvania.

He and other researchers were working on growing and making devices out of topological insulators, a type of material that doesn't conduct current through the bulk of the material but can carry current along its surface.

«And it works for a wide range of complex surface geometries and materials.»

They analyzed the magnetism of ancient rocks to work out their locations on the globe over time, and measured how the material under Earth's crust, the mantle, moves the continents that float on its surface.

The totally new manufacturing method also works on uneven surfaces — and as the properties of nano - structures depend crucially on the material, this opens the door to completely new applications.

«We did this work on NFO but, because the reduced coercivity is a direct result of the surface patterning, we think our technique would work for other magnetic materials as well.»

Materials • Two «two - by - four» or similar size wood planks, about one half meter long works best • Small plastic tub with lid • Sand or another dense material to fill the tub • Water • Freezer • Books • Ruler • Protractor • A carpeted area or a rug that can get damp (or a protective covering, such as a large plastic trash bag) Preparation • Make sure that the pieces of wood have surfaces that are similar in roughness and are about the same length and width.

Materials scientists working to build tiny machines called microelectromechanical systems (MEMS) struggle with surface interactions, called van der Waals forces, that can make nanomaterials sticky to the point of permanent adhesion, a phenomenon known as «stiction».

But though the Uhlirs» electropolishing method worked well most of the time, their samples were sometimes ruined by a thick black, red or brown film which appeared on the surface of the material.

It describes work showing that specially treated TiO2 nanotubes on the surface of orthopedic bone screws survive insertion and removal in bone simulant material.

Jorik is a postdoc in the Brongersma lab in the department of Materials Sciences, where he is working on nanostructured surfaces for the control over light - matter interactions.

Fu works on theories of topological insulators — a new class of materials whose surfaces can freely conduct electrons even though their interiors are electrical insulators — and topological superconductors.

«Graphene is a 2D crystal whose growth is confined to the surface of the catalyst foil, and we find that some of the common models employed to explain 3D crystal growth just do not work for this material.

«He is a leader in surface chemistry and dynamics, catalysis and photo - assisted surface reactions, knows the national lab system from working with Los Alamos and Sandia in New Mexico for many years, and for a decade (1991 - 02) he directed a major National Science Foundation - supported research center in Austin,» UT's Technology Center for Synthesis, Growth, and Analysis of Electronic Materials.

Dublin Institute of Technology, Electrical and Controls Engineering and Gaskatel, Kassel, Germany - Fuel Cells University of Applied Science - Germany, Fuel Cells and Nanocomposit Materials Trinity College - Dublin Physics - Nanotubes and Polymer Modified Carbon Nanotubes materials and Spectroscopic Characterization of Liganded Rare Earth Compounds (Chemistry) Our work has resulted inthe start up of two companies: Photonic Cleaning Technologies, LLC, Platteville, WI, USA - Manufacturer of First Contact Polymer, Sales in 62 Countries Xolve, Inc., Platteville, WI, USA Hamilton Group Past and Present Research and Development Projects: Design, Characterization and Synthesis of Chromone Laser Dyes Surface And Optical Characterization of Polymer Strip Coatings for Optics and Astronomy Double Resonance IR / VIS Fluorescence Detection using the National Free Electron Laser Facility in Newport News,Materials Trinity College - Dublin Physics - Nanotubes and Polymer Modified Carbon Nanotubes materials and Spectroscopic Characterization of Liganded Rare Earth Compounds (Chemistry) Our work has resulted inthe start up of two companies: Photonic Cleaning Technologies, LLC, Platteville, WI, USA - Manufacturer of First Contact Polymer, Sales in 62 Countries Xolve, Inc., Platteville, WI, USA Hamilton Group Past and Present Research and Development Projects: Design, Characterization and Synthesis of Chromone Laser Dyes Surface And Optical Characterization of Polymer Strip Coatings for Optics and Astronomy Double Resonance IR / VIS Fluorescence Detection using the National Free Electron Laser Facility in Newport News,materials and Spectroscopic Characterization of Liganded Rare Earth Compounds (Chemistry) Our work has resulted inthe start up of two companies: Photonic Cleaning Technologies, LLC, Platteville, WI, USA - Manufacturer of First Contact Polymer, Sales in 62 Countries Xolve, Inc., Platteville, WI, USA Hamilton Group Past and Present Research and Development Projects: Design, Characterization and Synthesis of Chromone Laser Dyes Surface And Optical Characterization of Polymer Strip Coatings for Optics and Astronomy Double Resonance IR / VIS Fluorescence Detection using the National Free Electron Laser Facility in Newport News, Virginia

The LLNL team has built a strong foundation of coupling spectroscopy experiments with advanced simulations and has recently extended their work to include electrochemical systems [1] and surface / interface electronic structure of hydrogen storage materials.

Valuable reference source for students, researchers, college and university professors, and specialists working in the fields of nanoparticle technology, surface science, chemistry, nanotechnology, solid - state physics, materials science, polymer science, colloid science, aerosol technology, environmental science, pharmacy, biotechnology, etc..

Furthermore, her innovative ion work demonstrated that soft - landing of mass - selected ions is a powerful technique for preparing novel materials and obtaining a molecular - level understanding of interactions between complex molecules and surfaces.

The encyclopedia is intended for a very broad audience working in the fields of nanoscience and nanotechnology, having a strong connection with materials science, electrical and electronic engineering, solid - state physics, surface science, aerosol technology, chemistry, colloid science, ceramic and chemical engineering, polymer science and engineering, sol - gel science, supramolecular science, mechanical engineering, metallurgy and powder technology, optical science and engineering, device engineering, aerospace engineering, computer technology, information technology, environmental engineering, bionformatics, biology, pharmacy, biotechnology, food science, etc., etc..

In addition, they are continuing their work to understand the interactions between molecules and surfaces to arrive at the time when understanding leads to controlled preparation of functional materials.

Provocative, demanding content is more motivating to work on than simple, unambiguous material that skims the surface of ideas.

Whenever working with bleach, it is much more effective if objects and surfaces are pre-cleaned of as much organic material and grime as possible.

Work will entail distributing approximately 200 cubic yards of fill materials onto the trail surface, and constructing a small low water crossing structure to allow passage over a drainage ditch.

Just as the Plexiglas works represent a material shift from the exterior surface to the interior structure, between the inside and the outside, the embedded plaster sculptures turn space itself into an analogue of Altmejd's investigation into notions of interiority and exteriority in his practice.

The show consists of three large - scale works on wood panel, a material Hackett uses to great effect — scraping, sawing, carving, and sanding her surfaces to a transcendental exterior that stretches far beyond the maelstrom of media at her disposal.

The surfaces of these wooden works are variously inscribed with watercolor, enamel, and acrylic paint, lacquer, oil, colored pencil, and graphite — materials that they share with the drawings that trace the evolution of individual pieces.

In her third solo show at the gallery, Castrillo Diaz debuts a series of three - dimensional wall works that continue parallel dialogues with light and shadow, visibility, surface and materials.

The physicality and tactility of the surfaces of the works — guided by the materials and processes involved in their creation — offer a uniquely visual experience of surfaces that desire to be touched and held, replicating the tactile attraction of their utilitarian predecessors.

Merging a wide array of different materials, such as oil, enamel, and spray paint, his color sensibility is resolutely experimental and oscillates between close - value, nearly monochromatic works to luminous, retinally - charged paintings that appear to vibrate off their surfaces.

Works that are about the pleasures of paint, drawing, surface, material, color, feeling, sensuality, pure visual language, visual ideas, plastic space, beauty, and intuitive expressions are by and large left out.

Ms. Heft's work is inspired by an exploratory approach to materials, and the interchange of two and three dimensional space on flat surfaces.

«It is not the raw, limitless potentiality of oil, clay, wood, bronze, graphite, or any «fine art» material that motivates Bradford, but the functionally specific, socially bounded character of materials that have an explicit purpose in the world before their incorporation into his work» — Christopher Bedford «I do not like conversations about Winsor & Newton and surface and transparency and luminosity and glazing.

Aiming to support and stimulate intellectual and practical engagement with The Tetley's artistic programme and wider contexts of current art practices, this multipurpose unit will incorporate bookshelves, reference material, work surfaces, display units and seating to provide audiences and practitioners with an armature for thinking and learning.

Complementary in their solid, vault - like presence, the surface texture of both works belies the object qualities of the artists» materials.

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

At the same time, many of the surfaces and materials used in her work simulate flesh in order to evoke the body, an alluring and seductive association of great significance.

The title, Murmur of Surfaces, refers both to the material and compositional emphasis of much of the work in this exhibition.

Watermarks were an unexpected thread in a number of works on display and lent marvelous results: Bochner's Language is not Transparent (1999)(watermarked translucent abaca on black cotton) recalls investments in language as an artistic material and support, a proposition mirrored in the materiality of paper; while Kentridge's Anne (2009)(watermarked cotton) is displayed in a lightbox illuminating its normally discreet surface.

In many of the artist's new works, a doubling of object and image occurs when Maisel collages the documented materials to the surface of the photographic print.

Collage, bricolage and shifts in surface texture are hallmarks of the work by this Spanish artist, who often incorporates found objects and materials into his paintings.

Offsetting the unseen mathematical foundation, her visible surface is organic and irregular, as if she were working against herself... Her paint, especially along ellipsoidal contours, develops an uneven appearance due to the distribution of the pigment and its oil binder as she works the material against the resist of the linen.