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.