Sentences with phrase «work on all kinds of surfaces»

Gamba Tools uses a hard outside shell to work on all kinds of surfaces and terrain.

Not exact matches

What I would do is use my anaerobic allotment to train for course - specificity: If the course is particularly rocky, I'd go out for a run after doing lower - leg stability work to challenge those muscles further (you can swap this out for running on sand), or if the course is particularly hilly, I'd train hills comparable in surface, slope, and length to the kind of stuff I'll find of the course.

It's an unconscionable and completely inappropriate suggestion — the kind that only someone with Amanda's blunt, cold - bloodedly pragmatic attitude could make, although it's just the sort of hypothetical that attracts us to the works of «Strangers on a Train» novelist Patricia Highsmith, or more outrageously, films like «Jawbreaker» and «Heathers,» whose influence can also be found lurking beneath this movie's elegant surface.

It's the kind of film that thinks it has heart, and on the surface, it might give that impression, but without true emotion or the basic human flare that made films like Rocky and, yes, even Over the Top have a semblance of working, Real Steel lumbers like a trashed automaton just waiting to be punched into submission.

Mazda engineers are working toward a goal in which an AWD vehicle can be more efficient than a FWD vehicle by controlling slippage on all kinds of surfaces.

The way it works on the surface is similar to other kinds of lending practices, such as business loans.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

This result in a kind of cotton - like surface in the larger works on paper, called Structures, and a more purely abstract surface in the smaller ones.

The exhibition presented to the New York public a long - overdue survey of the particular kind of minimal work that was made in and around Los Angeles during that decade, work which differentiated itself in its emphasis on surface, synthetic materials, industrial processes, and perception.

Installation view January 8 — February 6, 2010 Primary Atmospheres: Works from California 1960 - 1970 will present to the New York public a long - overdue survey of the particular kind of minimal work that was made in and around Los Angeles, work which differentiated itself in its emphasis on surface, synthetic materials, industrial processes, and perception.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

In the film Schnabel remarks: «I started to use different kinds of materials because I was looking for some kind of new way to paint... working with things that already exist affords you associations that are beyond your invention... I see opportunities everywhere as paintings, in images that already exist, in surfaces that will repsond to paint a certain way, or it might come from an accident... I realized a picture could be the architecture of a painting... so I would select thigns that already had pictures - images of things impregnated on them - and then I could treat them as a blank canvas... let them inform what I was doing and make me react to what was there and come out with a hybrid painting... it has a much to do with reacting rather than acting.»

So it seems to me that the simple way of communicating a complex problem has led to several fallacies becoming fixed in the discussions of the real problem; (1) the Earth is a black body, (2) with no materials either surrounding the systems or in the systems, (3) in radiative energy transport equilibrium, (4) response is chaotic solely based on extremely rough appeal to temporal - based chaotic response, (5) but at the same time exhibits trends, (6) but at the same time averages of chaotic response are not chaotic, (7) the mathematical model is a boundary value problem yet it is solved in the time domain, (8) absolutely all that matters is the incoming radiative energy at the TOA and the outgoing radiative energy at the Earth's surface, (9) all the physical phenomena and processes that are occurring between the TOA and the surface along with all the materials within the subsystems can be ignored, (10) including all other activities of human kind save for our contributions of CO2 to the atmosphere, (11) neglecting to mention that if these were true there would be no problem yet we continue to expend time and money working on the problem.

But it is tough to find evidence on the surface that this kind of life for a working animal — and carriage horses are undeniably hard working animals — can really be considered abuse if it is not also considered abuse for humans to live and work in these urban conditions, or any other working animal for that matter.

Would this product work on exterior surfaces??? We have this porch which I painted on the outside... tried SO MANY different products of exterior paint (even the stretchy kind — to be able to expand with weather).

-- one whole wall would be shelving (fabric etc. storage) and that shelving would have sliding doors with mounted foam boards (covered in white felt or flannel), so they would double as design walls — BIG center table for cutting and larger ironing surface on one side (smart storage underneath it all)- sewing machine cabinet next to it and small ironing place right next to it — enough space for the long - arm (or mid-arm) quilting machine - big desk in one corner — for drawing, sketching, computer work (preferably next to the window with that great view — big inspiration board on one wall — to pin all kinds of stuff!