Sentences with phrase «traditional drawn process»

Not exact matches

In the traditional monastic practice of lectio divina, the meditatio stage that followed the lectio did not refer only to a discursive process of connecting spiritual concepts to draw fresh insights or moral applications.

Unknown is how a court in New York will draw maps when courts both here and across the country have repeatedly affirmed and shown deference to the legislature's traditional role and rights in this process of legislative line drawing.

While their experience is limited with the new CGI process (this is a very different filmmaking than the traditional hand - drawn ways), it doesn't show as Moana has all the traits of a wonderful Disney movie.

More insight on this process is provided by Bluth and Goldman on a commentary track; the pair eloquently discuss, among other things, how animators should have an understanding of acting, and the technical challenges of creating such a smooth blend of traditional two - dimensional, hand - drawn animation techniques with 3 - D computer effects.

Even ignoring the hurdles and roadblocks that are a built - in part of traditional publishing's drawn - out querying process, it's easy to see which method of publishing represents the greater and faster - growing opportunity to earn a living wage as a writer.

This gives you the opportunity to get cash immediately without having to go through a long, drawn out, and sometimes risky traditional loan process.

Although the preapproval process can seem drawn out — especially if done through a traditional lender rather than online — it is an important step towards buying a home.

If you are a creative looking for nonstop access to prompts to jumpstart your making process or traditional painting and drawing techniques to bolster your set of skills...

Keen to learn traditional, craft - based skills, the artist explains why she is drawn to processes whe...

Created three years later, A Pot of Boiling Water (1995) also records an equally fruitless process in a series of twelve black - and - white photographs: the artist carries a pot of boiling water as he walks through the traditional hutongs of Beijing while pouring hot water onto the ground, drawing a wet line that vanishes almost immediately.

Traditional printmaking processes and concepts — etching, lithography, drawing, collage, silkscreen, letterpress and book arts; as well as post-modern processes, including mass media, collaboration, simulation, appropriation and dissemination — are taught concurrently.

His powerful epic narrative is the result of elevation and transformation of the medium of drawing into the painting through the use of traditional methods of processing light and dark as the primary elements.

His large - scale paintings, drawings, prints, and sculpture blended Native Northwest culture with images influenced by art around the world, in the process challenging traditional notions of what Native art could look like, probing how art intersected with colonization, trauma, and identity.

The process more closely resembles printmaking than traditional painting, and involves the artist drawing an image on one side of a sheet of paper, and coating the reverse in paint.

Pushing beyond the traditional means of rendering, Krebs mastered a process for controlling and capturing smoke as a means of drawing.

Drawing from provincial and traditional histories, as well as the varied landscape of 20th century avant - garde movements (Futurism, Art Nouveau, and Arte Povera) the works are strongly rooted in process.

Here, reproducible yet erratic production via the fax machine displaces traditional notions of the hand «still commonly associated with the medium of drawing, and foreground the role of drawing as a generative process.

The artist removes the film from its conventional context by applying different processes that range from traditional artistic techniques (painting, drawing, collage, grafitti, etching) to alternative actions such as emulsion, chemical manipulation and direct exposure of the photosensitive material to light.

The new range of video and photographic imagery has reduced the importance of drawing skills, and by manipulating the new technology, artists (notably those involved in new media, like installation, video and lens - based art) have been able to short - cut the traditional processes involved in «making art,» but still create something new.

His use of traditional artistic processes, such as weaving or drawing and sculpting by hand, in conjunction with contemporary rendering techniques borrowed from digital and new media art, design and architecture give these objects a surprising new dynamism.

He translates these images into both drawings and paintings executed through a traditional process.

Gardner Cole Miller's work in fiber and tarpaulin subvert the traditional, repetitive process of quilting while drawing material inspiration from the historic narratives associated with the places they inhabit.

It presents the works of artists engaged in explorations of different materials and processes, from traditional forms of representation such as line drawing, ink, and watercolor to alternative processes that challenge conventional notions of drawing such as collage, text, scorch, or perforations.

The show includes video work, drawings where the paper is destroyed during the drawing process, and three - dimensional cut paper drawings, as well as more traditional forms of drawing.

Here, reproducible yet erratic production via the fax machine displaces traditional notions of the hand «still commonly associated with the medium of drawing, and foregrounds the role of drawing as a generative process.

Over the past few years, my process has evolved from traditional painting and drawing to working exclusively in collaged paper.

To understand the medium, I think you have to draw specifically for it...» Serra's desire to capture this transformation — the very process of printmaking — has led him to experiment with nontraditional materials such as silica and Paintstik to create works that exceed the limitations of traditional printmaking in scale, material, and method.

Respondents raised many interesting and challenging issues, drawn from their experiences working with traditional owners to establish good governance structures and processes.

Thus, one of the major draws of the collaborative process is that the parties have more control over the costs of obtaining a divorce settlement than they would in a traditional divorce process.

Thus, one of the major draws of the collaborative process is that he parties have more control over the costs of obtaining a divorce settlement than they would in a traditional divorce process.