Sentences with phrase «worked in print because»

The artist sees his «Shadow» prints as a contemporary and colour - infused interpretation of chiaroscuro and specifically worked in print because such an effect could not be achieved in any other way.

Not exact matches

Since all of the Bible was written many centuries before printing was invented and because in no instance do we have the original as it was written first - hand by its author, the work of the textual critic is very important.

I tend to sell more prints than originals, I did start by selling my original work in galleries but as soon as I started selling prints I stopped because it worked out more cost effective to sell online, so I still have a large proportion of my original work, I hope to have an exhibition at some point.

It works in almost every environment because of the fun yet subtle print and the classic silhouette with a modern twist of the flared sleeves.

This look was shot inside because it was raining buckets and buckets over here, but I think it has a cool effect to work with flash sometimes:) And a total black look this time, doesn't happen as much but sometimes I'm not in the mood for alot of color or prints.

It works because of the subtlety in each print against the other, and since the black + white is the consistent color palette in play.

I'm not sure if it's the fact that it's a work skirt and everyone else on my team is in jeans or because of the print but something about it puts me in a way more productive mindset.

Anyways good news is designers are still launching their summer collections for the remaining days of summer so you can bring change in your wardrobe ad actually feel different because my personal experience so far says that new prints & clothes really works for bringing a brand new look refreshing the lives.

Yes, this Tracy Reese dress is so beautiful with its hot pink and poppy print, would have been perfect shot against the beauty of nature (what little can be found in the BK), but we worked it out and because it is so strong by itself, it captivates and wows regardless of the backdrop and the weather.

I had bought a Keep Calm & Carry On poster on craigslist, and because I was at the time working in print production at an ad agency, I knew the print quality and colors could be much improved upon.

You're right, it works because of the similar colours in the prints, and the cream background colour.

I truly wish this Made in Kind item had worked better on me because I love the print, but sadly it instead went back to the rack.

We've said it before and we'll say it again: A print hides a multitude of spills and stains (including those from work pumping mishaps), and a wrap dress is very helpful to have in your wardrobe if your size is fluctuating, either because you're gaining or losing weight.

Like I said in my other comment... maybe it's because the print would work better as wallpaper.

Even though her rose - print backpack and plaid heels have completely different vibes and color schemes, they work because they're only in small doses and her neutral outfit ties together the black in her shoes and her bag.

A report printed in the Harvard Magazine called The Mature Dating Game puts it bluntly; «Most of your friends are already married and get together for dinner parties in the suburbs with other couples, and those still at the peak of their careers (ages 45 to 65) tend to be more isolated because they are bosses in a corner office, or work from home.»

It works in the book because things like that simply work in print.

He's the standard analogue man in an increasingly digital world; his books long out - of - print, Leonard doesn't take freelance gigs writing advertising copy because he deems it an objectionable compromise; he instead pecks away at a novel he's been working on for more than a decade, and enjoys simple get - togethers with his adult daughter Ariel (Lili Taylor, fantastic).

Today, the listener who regards himself or herself «literate» in music and able to recognize a work of Beethoven and follow it can do so because of repeated hearings through recording, without any reference to a printed text.

Because CINCH Learning is designed to work easily with print, online, and whiteboard combinations, it is the perfect solution for schools and districts that are phasing in whiteboards, response systems, or student computers.

You should proceed with Dorrance because you want to see your work in print, not because of expectation of sales.

Many traditional writers self publish such work because economically and physically there isn't a lot of sense in print publishing them, with the exception of limited edition chapbooks etc in specialised / genre markets, and usually for very popular writers.

Independent presses are small presses that publish STRANGERS» books because they fall in love with the books, and they work very hard to scrape together funds for advances, contracts, editors, layout, cover artists, advertising, and print runs.

Follow the audience: Carla Busazi (WGSN, formerly Huffpo UK) started her career at Marie - Claire — working with a group of digital elves up in the attic of the Conde Nast building because, you know, it was the print that made the money.

If the print publisher has the copyright over the print publication, partly because you let it do so as part of the deal that they «put it together» for you, and has also registered the print ISBN in their name, this does not stop you making an eBook (so long as it does not use the creative design work of the print book) and registering the second and future ISBNs in your own name as author — as you should have done anyway.

The publishers will have to adjust again, like they have done so many times before (paperback / trade paperback, ebooks as we speak, the printing press) but they are well placed to slide in because, after all, they have the lion's share of personnel, technologies and connections to have their work placed in the higher echelons.

Is it because they don't have a high degree of confidence in their work to invest in print books (even though today's Print On Demand technologies make that almost a non-isprint books (even though today's Print On Demand technologies make that almost a non-isPrint On Demand technologies make that almost a non-issue)?

That in turn has been helping some good authors, some published by large houses as well, get works into the hands of readers who might never have had access to those books because they would not sell in high enough volumes via traditional print ways.

Well, maybe the prices that are printed on their books are not actually working for them, and that might be because they used the stab - in - the - dark method of pricing.

Part of why I turned to crowdfunding in the first place is because I didn't want to go the vector premade illustration route, and because I was getting the editing and print run I couldn't finance entirely on my own, I see working harder to get the cover and illustrator that would really make the outside of the book match what I've toiled to create within.

I am incredibly lucky to have a readership that believes in me enough to fund a freelance editor and a cover artist for the upcoming print / ebook editions of my work (which, I've been repeatedly told, will never find a publisher because I put the drafts on the web).

My major disappointment in self publishing over the past two years has been that after all that work involved in writing and editing and formatting your book, it will probably still look self published because of the poor quality covers inherent from print on demand.

Genres work as a marketing tool in print because they hook buyers who aren't experts on books.

I would recommend using Kindle DX because Kindle doesn't reflow text in PDF so having a larger screen will make it much easier to work with documents meant to be printed on a letter sized paper.

If your printer isn't wireless obviously it's not going to work because you can't connect a Fire tablet to a printer using a USB cable, in which case you'd need to transfer any content from your Fire tablet to a computer to print.

Every man and woman amongst»em believed in their work enough to pay to print it because they were willing to do what it took to get their work out there.

In fact, out - of - print status shouldn't appear in self - publishing terms of use at all, because the author - publisher should have the exclusive right to decide when the work is available and when to take it out of prinIn fact, out - of - print status shouldn't appear in self - publishing terms of use at all, because the author - publisher should have the exclusive right to decide when the work is available and when to take it out of prinin self - publishing terms of use at all, because the author - publisher should have the exclusive right to decide when the work is available and when to take it out of print.

My advice to aspiring writers is don't let anyone tell you that self - published books are not the way to go — because in fact — traditional publishing is fraught with marketing politics and potential years of waiting to see your work in print.

I work in comics, where the idea that digital comics should be.99 because print comics are 2.99 -3.99, with the idea that bulk of a comic's price is in the printing of the physical object.

Because digital can keep books «alive» in perpetuity — which seems a great thing, of course — that does mean that contemporary writers» work comes up against an ever expanding field of never - out - of - print content.

Although some retailers have been wary of digital comics, Waid doesn't see his work as competing with comics shops, because the concepts he's developing digitally wouldn't be viable in print.

He now has a vested economic interest in the future of publishing because of his work with the Espresso book print - on - demand device.

This I did most happily, for Snake has been, to date, my favourite book of Rick's (with the possible exception of an upcoming «paper» one, which is still in the works); though I, unfortunately, haven't yet had the pleasure of reading the Driftless Trilogy, because it is, sadly, out of print.

Included in the exhibition will be 70 prints, drawings, and mixed media works by Camnitzer, Castillo, and Porter, as well as Michael Snow, Max Neuhaus, José Luis Cuevas, and Salvador Dalí, because the workshop produced some of their work as well.

That is because the titanic success of LOVE, which grew out of an early 1961 painting titled 4 - Star Love and evolved into a beloved series of prints and sculptures, cast the rest of his extensive career's worth of work in shadow.

Perhaps because of his background in commercial art, Jack Bush frequently worked on paper, making preliminary colour notations for large paintings, patterns for silk screen prints and finished works.

Four galleries devoted to Ellsworth Kelly span the artist's whole career; Agnes Martin's refined, ethereal works are in an octagonal room with a central sofa because «they need time»; a Frank Stella print series runs along a wall that breaks open to give views over the city.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

Other works, including four earlier light pieces and a series of prints, were weaker, partly because they had no force in relation to the overwhelming scale of Aten Reign.

Obviously, all work is open to interpretation, but what could be random or chaotic in SYNTHESIZ is lost because the cipher is too easily decoded; each segment of video is well - defined by a set of glossy - print video stills accompanied by titles like After Joseph Albers and After Mark Rothko.