Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while harnessing
the nuanced effects of light and shadow to animate his work.
Since the 1950s, Ryman has used primarily white paint on a square surface while harnessing
the nuanced effects of light and shadow to animate his work.
Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing
the nuanced effects of light and shadow to animate his work.
Not exact matches
In the Hellblade demonstration, every
nuance of the digital character's facial expressions,
lighting, visual
effects and sets are visible in real time to final render quality.