Sentences with phrase «using shadow forms»

Clockwork City provides a whole new string of missions centered around a rising evil using shadow forms to assassinate prominent figures.

Not exact matches

Consistent with the Hoover Report's recommendations that the United States had to reconsider «long - standing American concepts of fair play» and «learn to subvert, sabotage and destroy our enemies,» the shadow government built alliances between U.S. government officials, the Mafia, and international drug cartels; assassinated many thousands of civilians in Southeast Asia; carried out or attempted assassination of foreign leaders; trained death squads and secret police forces; worked to shore up unpopular dictators like the Shah of Iran and the Somoza dictatorship in prerevolutionary Nicaragua; worked to destabilize «unfriendly» governments such as Allende in Chile and the Sandinistas in Nicaragua; cooperated with the Colombian drug cartel to plot the assassination of the former U.S. ambassador to Costa Rica, Lewis Tambs, with the intention of justifying a U.S. invasion of Nicaragua by blaming his death on the Sandinistas; contracted with the Reagan administration and the National Security Council to find ways of circumventing a congressional ban prohibiting aid to the contras, including the trading of arms to Iran in exchange for hostages and money for the contras; illegally shipped weapons from the United States to the contras and allowed returning planes to use the same protected flight paths to transport drugs into the United States; 11 targeted the U.S. people for disinformation campaigns; and helped prepare contingency plans for declaring a form of martial law in the United States that would have formally suspended constitutional freedoms.

Many cultures have created forms of theater using shadows, and babies love the drama of it.

The shadow justice secretary is expected to use a speech on criminal justice policy to confirm the opposition would scrap the controversial ban, which forms part of the government's incentives and earned privileges scheme.

The model is used to test the prediction of (Dullemond et al. 2003) that disks around UX Orionis stars must have a self - shadowed shape, and that these disks are seen nearly edge - on, looking just over the edge of a puffed - up inner rim, formed roughly at the dust sublimation radius.

In the new SLK they form the perfect starting point for a feature line which flows to the muscular rear wing, using light and shadow to add style and elegance to the sides.

In the new SLK they form the perfect starting point for a feature line, which flows to the muscular rear fender, using light and shadow to add style and timeless aesthetics to the sides.

His A-list variations allows him to charge some of his moves for extra damage, his fisticuffs version allows him to use brass rings on his fingers to take extra chip damage once activated and his stunt double variation allows him to create yellow energy around himself to launch at his opponent in the form of his shadow kick or shadow uppercut.

Puzzle elements in the game is usually controlled by the Igniculus, where it shines light on a specific form and you use the shadow of that form to place it on the matching mark, and none of these are hard but they are enough to break up the gameplay and make it feel fresh and welcoming whenever you encounter them.

The AO technique used and the quality of the implementation affects the shadowing's accuracy and whether new shadows are formed when the level of occlusion is low.

With the new shadow characters comes a new mechanic, these forms of the cast can't use any sort of burst, but gains the Shadow Frenzy ability.

Use this effect for defining form - use warm colors in the highlights and cool colors in the shadoUse this effect for defining form - use warm colors in the highlights and cool colors in the shadouse warm colors in the highlights and cool colors in the shadows.

Using sets of stencils as matrices to depict stylized suns or shadows, the works form a meditation on the role of variability within artistic process.

Using issues of THE Magazine and other media such as wood, wire mesh, and landscape fabric, she would form a labyrinth of light and shadow across the walls.

The 12 artists in Phantasmagoria: Specters of Absence — Christian Boltanski, Jim Campbell, Michel Delacroix, Laurent Grasso, Jeppe Hein, William Kentridge, Rafael Lozano - Hemmer, Teresa Margolles, Oscar Muñoz, Julie Nord, Rosângela Rennó and Regina Silveira — draw on forms of representation associated with phantasmagoria and reframe them around contemporary notions of absence and loss, using spectral effects and immaterial media such as shadows, fog, mist and breath.

Ample, blank space is allowed within the compositions and dark shadows around forms are emphasised, a technique used in commercial illustration, which Thiebaud also studied.

But these more difficult and enclosed compositions, incorporating overlaid text and using off - kilter scale, take a lot more work to unpack, and they feature something unprecedented in his art: self - portraiture, in the form of the artist mixing and serving drinks to shadow - strewn clients.

Whether it is a curious glance from his dog, or the shadow of leaves against distant city lights, Huen's surprising use of blank space and fragmented forms gives voice to a specific moment and the way it exists or perhaps escapes his consciousness.

Staging papers and objects as dividers of light and shadow, Lichtenstein uses the apparatus of the camera and elemental forms of photography to explore the larger philosophical and theoretic issues around photographic representation.

TRANSPARENCY SHADE: SEEING THROUGH THE SHADOW is a group exhibition of two - and three - dimensional artwork that conveys post-identity semiotics, or the use and interpretation of visual and linguistic signs and symbols that function to form identity.

Christian Sampson, Untitled, 2011, plexiglass construction, 24 x 12 ″ Using polymers, dyes, wood, and plexiglass, Christian Sampson explores how color, light, and shadow, while shifting between two and three dimensions, create form.

Castellani used nails under a stretched - out canvas to form a sort of dance between the light, angles and the shadows, like in the 2008 diptych Superficie bianca — Dittico.

The volumes of canvas and its surrounding space are used as chiseling tools giving the viewer an understanding of the relationship between line, shadow, color, and form.

Later, she built a doubling, tripling and, even, quadrupling shadow effect into these works by using a single continuous piece of wire to generate nested shapes, in which the outer surface of one form became the inner surface of the next, with each shape arising, she noted, «from the capacity of the technique and the way in which they grow».

Line as Object investigates the artist's unrivalled engagement with the problems of form and space - using light, shadow, scale and gravity in a constant process of discovery.

Using polymers, dyes, wood, and plexiglass, Christian Sampson explores how color, light, and shadow, while shifting between two and three dimensions, create form.

Mullican painted in a style influenced by printmaking, forming ridges of paint and using the edge of a palette knife to achieve a line raised and puckered; the resulting surfaces caught light and cast shadows, ultimately assuming a tapestry - like quality.

The volumes of the canvas and the surrounding space are used as chiseling tools to give an understanding of line, shadow, and form.

The main protagonist of Cornell's Juan Gris series is a bird — the great white - crested cockatoo — specifically, an image taken from a 19th - century print of the species that Cornell repeatedly used along with Photostats or silhouettes of the bird's form to explore the fascinating shadows that Gris produced in his own practice.

Using discarded wood, metal, personal trash and even taxidermy materials, Noble and Webster project light straight onto these assemblages, focusing on an «investigation of the shadows» that are cast by their trash sculptures, revealing fascinating messages hidden in their forms.

«Several factors work together to tie the center into the Hawaiian vernacular: open spaces, shade and shadow play created by distinctive roof forms, use of the beautiful ocean and mountain views, lush landscaping, and a variety of lighting sources,» Tindall says.