Sentences with phrase «surface shape of objects»

The team of Marc Walton, research associate professor of materials science and engineering at Northwestern University, used techniques like hyperspectral imaging and photometric stereo, which reveals the surface shape of objects.

Not exact matches

Since scientists know the size, weight, and shape of the objects that smashed into the Martian surface, they can use this information to better understand the nature of crater formation on Mars.

As the folks at the Michael Kohn Gallery in L.A. explain it, the art exhibit that opened last Saturday «takes the idea of the object — in this case the seductive shape of the surfboard — and attempts to trap the image beneath the fiberglass and resin surface.

The volume is the amount of space an object fills in three - dimensional space (which tells approximately how much a container, like a juice box, can hold), and the surface area is the total amount of area on the outer surface of the object (which tells approximately how much material was used to create the shape).

The team's dip transform to reconstruct complex 3D shapes utilizes liquid, computing the volume of a 3D object versus its surface.

In a proof - of - concept study, scientists selected a region for analysis on round or irregularly - shaped objects using a 3 - D camera on a robotic arm, which mapped the 3 - dimentional coordinates of the sample's surface.

Animators typically define the shape of an object by creating digitized wire frames and then adding information about surface textures.

Next, the researchers hope to harness the power of machine learning to train these devices to grasp objects of varying size, shape, surface texture, and temperature.

Vacuum forming, or «vacuforming», is a simplified version of thermoforming, whereby a sheet of plastic is heated to a forming temperature, stretched onto a single - surface mold, and forced against the mold by a vacuum and formed into a permanent object, such as a hard mask that doesn't lose its shape.

This lesson plan is compliant with the following California State Standards: Grade Five Mathematics Content Standards: Measurement and Geometry 1.0 Students understand and compute the volumes and areas of simple objects: Grade Six Science Content Standards: Focus on Earth Science: Shaping Earth's Surface

Microsoft Research shows off a tabletop mat that uses capacitive sensors and near - field communication (NFC) to detect the shape and position of objects, as well as touch, and gestures above its surface.

Each of the four mantels in the exhibition takes on a different shape or surface — referencing the design and political ideologies of International Style and Memphis Group along with the high / low aesthetics of Pop and ornamentation — acting as a pedestal, a sculpture of an object, an image of an object, and so on.

They signify art as commodity - fetish / object - of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition of the same shapes and imagery, the synthetic palette (hues typical of process inks used for photocolor separations), and the stacking (an allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque allusions to sexuality and eroticism - as in the greasy holes of Painting of Depth or the pornographic photographs of Untitled (1986).

In converting 2D imagery into physical objects, she creates trompe - l'oeil sculptures, fluid in shape that lure the viewer into expecting malleable forms, when they are in fact comprised of resistant, hard - surface materials, such as blown glass.

In a series of works started in 2012 Thomas Ruff essentially takes an idea that was first introduced my artists like Man Ray, Laszlo Moholy - Nagy who simply placed objects of various shapes, textures and opacities onto photographic paper and captured their physical qualities through the optical traces they left on the light sensitive surface of the paper.

Working intuitively, the artist translates both the fixed and mutable qualities of a singular object or grouping before her — shape and form, texture, colour, shadows and highlights, the play of light across a surface — into abstract compositions that evoke a specific atmosphere.

The odd - shaped forms that resulted from this mode of art - making seemed to throb with restless energy, as if the objects hidden beneath Imai's swelling canvases were just itching to burst through his smooth, luminous surfaces.

These were either drawn on paper or found objects, or hand - crafted into sculpted shapes of modest scale with mottled and worked surfaces.

In the «Black» paintings (included in the Museum of Modern Art's 1959 Sixteen Americans exhibition) and the «Aluminum» paintings which followed (his earliest shaped canvases, exhibited in this first solo show at the Leo Castelli Gallery in 1960) the picture's surface echoed and reiterated its depicted shape, reinforcing modernism's notion of painting's flatness as it sought to establish the painting as an object.

At the highest point of the structure, before the cable is revealed, a wooden shape like an inverted vase signifies that the other shapes below it, and beneath the modeled white surface may also be found objects.

Seen as another arena for experimentation and moving away from the traditional understanding of modeling, Picasso's cubist sculptures showcased that these fresh objects also allowed the play with geometrical shapes, flattening of its surfaces, and fragmentation.

In a beautifully installed exhibition at Marc Strauss, Jones's minimalist shaped paintings challenge classic distinctions between art as object or surface through a meticulous condensation of material, color and form.

The thoughtful viewer is sensitive to forms and shapes, as much as to the tactile quality of the surfaces and objects.

Each of the artists in Shape Paintings explores their own relationship to surface and object.

His visual vocabulary was drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows — and has been shaped by his interest in the spaces between places and objects, and between his work and its viewers: «In my work I don't want you to look at the surface; I want you to look at the form, the relationships.»

The pictures depict almost nothing but rumpled fabric, although the shapes of simple objects can sometimes be discerned beneath the complicated surfaces.

Aided with his broad, gestural brushstrokes, vivid palette of contrasting colors which helped to emphasize the rectangular shape, Hodgkin defined painting as an object rather than a painted surface.