Sentences with phrase «shapes areas of color»

Not exact matches

There are plenty of rectangular, traditional area rugs to match any decorating theme or color scheme, but choosing an unexpected shape, color, or pattern is an easy way to liven up a neutral bedroom.

Water mats can help babies distinguish between different shapes and colors while helping them develop their tactual skills as they learn to press and push certain areas of the mat to create different effects.

BOX 15, A-15-6; 30219214 / 734997 SAPA Part B - 1st Draft, c. 1972 Using Numbers - Numbers and the Number Line, JRM Observing - Observing the Weather Measuring - Making Comparisions Using a Balance, JE Alternate Auto - Instructional, Measuring 1 - 4 / Measuring Area, Gillis Classifying - Trees in our Environment, JRM, c. 1972 AAAS - Xerox Film Loops Guide, A11 Exercises - Shapes and Symmetry, Hansen, 1972 SAPA Part B - 1st Draft, 1972 Observing - Observing Color and Color Changes in Plants, HM Communicating - Identifying Objects and their Variations, RN Communicating - Different Kinds of Forces, AHL Communicating - Graphs, JRM Classifying - Observing Living and Nonliving Things, Smith Using Space / Time Classifying - Animals in Our Environment: Part B (alternate) Using Space / Time - Shadows, Smtih Alternate (Autoinstructional)- Using Numbers - Numbers and the Number Line Observing - Observing Soils, JRM SAPA Part B 2nd Draft, 1972 Measuring Area 1 - 4, CCP Measuring 1 - 4, Volume of Solids, Alternate 2, CCP Measuring 1 - 4, Volume of Solids, Alternate 1, CCP Measuring Length 4 - 6, Linear Measurement Using Metric Units, CCP Communicating - Intro to Graphing, JRM Communicating - Pushes and Pulls, AHL Communicating - Identifying Objects and Their Variations, RN Classifying - Trees in Our Environment, JRM Classufying - Observing Living and Nonliving Things, Smith Observing - Observing Color and Color Changes in Plants and Observing Changes in Mold Gardens, HGM Observing (alternate)- Observation, Using Several of the Senses, HGM, c. 1972 Using Numbers - Numbers and the Number Line, JRM Measuring - Making Comparisions Using a Balance, JWE Using Space / Time - Shadows, Smith Using Space / Time Relationships - Time Intervals, HGM Observing 10 - Observing the Weather, JWE Observing - Observing Soils Using Several of the Senses, JRM SAPA Part B Tryout Draft, 1972 Communicating - The Same but Different Observing 10 - Observing the Weather Observing 9A - Observing Soils Observing (alternate)- Using Several of the Senses Observing - Observing Change Classifying - Trees in Our Environment Classifying - Observing Living and Nonliving Things SAPA Part B, Observing - Changes in Molds and Other Plants, c. 1972 SAPA Part B Tryout Draft, 1972 Observing - Observing Changes in Plants Observing - Changes in Mold and Green Plants Measuring - Making Comparisions Using a Balance Measuring Length - Linear Measurement Using Metric Units Measuring Volumes of Solids, 1 - 4 Communicating - Pushes and Pulls Comparing Area, c. 1972 Using Space / Time Relationships - Shadows, 1972 Addition of Postive Numbers, Sums 1 - 99 (not being tried) SAPA Part B 3rd Draft (alternate), Using Numbers - Numbers and the Number Line, 1972 SAPA Part C 1st Draft, 1972 Classifying - Classifying Components of Mixtures, Livermore Inferring 2 - How Certain Can You Be?

The visual cortical area V4 is one of them and deals with visual information used for recognizing the object such as shape, color, pattern, binocular disparity, and size.

Dr Simone Ottonello, from the University of Parma, Italy says: «If extended to black truffles from different geographic areas, epigenomic analyses, such as the one described in this work, may shed light on the relationships between DNA methylation and transposon - mediated genome shaping, intraspecific variability and commercially relevant organoleptic traits such as aroma and color»

By that, I mean, everything that has shaped you; your education, gender, upbringing, whether you live in a rural area or urban, the color of your skin, your family relationship, if you have allergies, if you work with physical or health considerations, whether you have been sexually assaulted... and on and on

- The pencil was the perfect size for shaping my eyebrows, and since the color matched the chalk perfectly, I didn't have to worry about it being too narrow to fill in the broader areas of my brows.

The tapestry slowly grows as I work section at a time, weaving areas of cloth to create the image in a syncopation of threads, shapes, colors and textures with the language of the loom.

I stay motivated by thinking about children, of all shapes, sizes, colors, ability - levels, and geographical areas.

The C - shaped emblem contains the colors of Spain who originally claimed the area.

The new design of the center dash area looks bold, but most of the buttons are the same size, shape and color making it hard to figure out how to operate certain features without consulting the manual and / or taking your eyes off the road.

In the opening pages of Burnt Shadows Hiroko Tanaka survives the bombing of Hiroshima but is left with bird - shaped burns on her back from where her patterned kimono variously reflected and absorbed the light from the uranium bomb — causing the areas covered by dark fabric to be burned and the areas covered in lighter colors to repel the heat.

Touches like blue area rugs and walls nod to the color of the ocean, while undulating light fixtures recall the shape of the waves.

A Match - 3 game is a block - based puzzle where you move blocks around in the game area to create groups of three or more that share a common attribute (such as a color or a shape).

This game, inspired by squid squirting out ink, is played by human - shaped characters with squid - like features shooting, instead of squirting, ink at each other, and the team that paints the widest area in its team color wins.

It definitely works as a fun little playground to get a hang of the game's basic mechanics, though I do have to admit the simplistic shapes and colors of the environment actually made some of the platforming a little difficult in some areas, particularly a spiraling hill in which Laylee needed to roll Yooka up its slopes.

I still approach this as I did with darks and lights, still looking for the shape of the specific color area.

Laying in color is also like laying in the initial tonal value, in the way that you are considering the shape of the area.

Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight eColor field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight ecolor, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges.

I think some people come to painting through drawing and others through a sense of area and color and of shape.

After applying a light color wash to the paper, Ossorio would draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.

I set up these areas of flat color that become shapes that interlock and break apart as they move backward or forward in relation to the picture plane.

He leaves behind the pictorial schemes of shaped canvases and flat areas of color.

Striking for their hot, vivid, deep colors, their pierced or jagged forms, and their pulsating energy, these works were created using a wax resist technique — Ossorio would apply a light color wash to the paper, draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.

In one of his principles, which he called «push and pull,» areas of strong color push into the foreground of dynamic surfaces made up of overlapping shapes, while others retreat into the background.

Patches of color, and often surprising ones (you'll find giant swaths of yellow and pink and peaches both bold and subdued), shape her compositions, generating warmth and coolness and creating areas of sharpness and softness.

The most significant shift in my work was around 2004 when the shapes and areas of color in my paintings became larger as if I had zoomed in on pieces of my earlier paintings to draw attention to the color and the compositional choices.»

The paint is matte and, in some areas of the work, you can see where she has added another layer of color over a shape to readjust its edge or to change the hue.

Likewise is the Kenneth Price area of fanciful shapes of glazed earthenware / painted stoneware set against the backdrop of a Josef Albers painting on one wall (for color reasons) and Edward Ruscha's work on another (for the fact he was Price's friend).

The two colors divide the surface of the shape into equal areas, or into three or five divisions.

These large - scale compositions draw attention to the abstract properties of each depicted form, the interlocking positive and negative shapes evoking the technique of collage in areas of sharp delineation, bold color, and softly rendered detail.

In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two - dimensional space; monumental scale; and the varying shape of the canvas itself.

Returning (1954) to the United States, he became known in the 1950s and 60s for his hard - edge paintings, formal, impersonal compositions painted in flat areas of color, usually with sharp contours and geometric shapes.

The tapestry slowly grows as I work section at a time, weaving areas of cloth to create the image in a syncopation of threads, shapes, colors and textures with the language of the loom.

The tapestry slowly grows as I work section at a time, weaving areas of cloth to create the image in a syncopation of threads, shapes, colors and textures with the language of the loom.