This light creates that soft, bright look perfect for beauty videos, according to AndrewsOffDay.
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It can create a subtle, yet bright, look that can go smoky with the help of the brass shade.
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The rose-cut gems are "less aggressive, more humble," he added, than the bright look of contemporary faceted stones.
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The actor showed off his brand new, super bright look on Instagram, and he even included a hot pink motorcycle in the unveiling.
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The restaurant has kept the airy-bright look of its predecessor: royal blue wooden tables, white wood chairs, pale blue walls and a brilliant blue-raftered ceiling.
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The bright look is reminiscent of a dress worn by Meghan earlier this month during a reception in London for young people from around the Commonwealth alongside new husband Prince Harry.
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For the second week of Dancing with the Stars: Athletes, which featured an extra judge, a team dance round and the typical contestant-and-pro partner round, Inaba chose a bright look and bouncy curls to up the energy.
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Next the motifs are inlaid and fixed. The wood is then smoothened using sandpaper and polished to give a bright look.
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The transition of the video from night to day was achieved during the telecine process. During the transfer from film to videotape, an operator manually adjusted from a monochromatic, grainy look at the start, to a warm, colourful and bright look at the end of the video. The look was inspired by the night swimming scenes in the movie Jaws.
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Today, the Manila shawls are still very popular in Andalusia for festive occasions. Women use the shawls for dressing up and going to parties. During the Festival of the Crosses of May in Cordoba, balconies are dressed up with the shawl that add a bright look to the plazas. During the April Fair in Seville, most of the women in Gypsy dress (flamenco dress) use the shawl as an accessory.
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Designed by Andreas Kirkerup and completed in 1786 in the Neoclassical style, the one-storey, half-timbered whitewashed building has a covered veranda and a living room. The hipped thatched roof has wooden thatching supports along the ridge. In addition to the cottages's small-paned casement windows on all sides, the veranda has larger round-arched windows while the tops of the double doors are also glazed. As a result, the interior has a pleasantly bright look.
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Following the shooting the Atlanta Constitution called Standing "fat and beardless, and with not a very bright look, judging from his picture" and reported that those in the community became "alarmed for fear some member of their family might fall a victim to the seductive arguments and pleadings of the young Mormon[s]… [their] services were regularly attended by those who every week became more and more inoculated with the pernicious creed.""In Brigham's Bosom," The Atlanta Constitution, August 7, 1879. In spite of this perception Clawson told a reporter he believed the actions of the mob were not in harmony with the sentiments of the general population.
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In a deviation from several decades' worth of Disney features, Sanders and DeBlois chose to use watercolor painted backgrounds for Lilo & Stitch, as opposed to the traditional gouache technique. While watercolors had been used for the early Disney animated shorts, as well as the early Disney features Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Dumbo (1941), the technique had been largely abandoned by the mid-1940s in favor of less complicated media such as gouache. Sanders preferred that watercolors be used for Lilo & Stitch to evoke both the bright look of a storybook and the art direction of Dumbo, requiring the background artists to be trained in working with the medium. The character designs were based around Sanders's personal drawing style, eschewing the traditional Disney house style.
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The old latticed windows, the stone porch, the walls, the roof, the chimney-stacks, were rich in crayon touches and sepia lights and shades. The trees behind were fine, bold, and spreading; the cedar on the lawn in front was grand, and the granite urns on the garden wall, the fretted arch of the gateway, were, for an artist, as the very desire of the eye." Charlotte Brontë; Shirley (1849) Elizabeth Gaskell described the house when discussing Shirley: "From the ‘Bloody Lane’, overshadowed by trees, you come into the field in which Oakwell Hall is situated... The enclosure in front, half court, half garden; the panelled hall, with the gallery opening into the bed-chambers running round; the barbarous peach-coloured drawing- room; the bright look-out through the garden-door upon the grassy lawns and terraces behind, where the soft-hued pigeons still love to coo and strut in the sun, – are described in Shirley. The scenery of that fiction lies close around; the real events which suggested it took place in the immediate neighbourhood.
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