His globs and stipples and smears — seemingly brisk and impulsive, but painstakingly applied and endlessly revised — ravished.
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Wood then layers these dense graphic patterns, overlapping fields of stipples and stripes, circles, squares, dots and wood grains.
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The results make it look almost like an animation, with the stipples rippling, expanding, retracting and thus forming and unforming the lovers' bodies. denial.of.
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Lattes are served with delicate feathers etched in foam; the music is unobtrusive; and the soft glow from teardrop-shaped fixtures stipples drinkers' faces with chiaroscuro.
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When he stipples a surface, he seems to be doing it at the absolute of what can be achieved with a razor-sharpened point of graphite.
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It is encrusted, heavy-handed, overworked, as if she were trying out everything on one canvas: short, long, medium brushstrokes; assertive palette knife slashes; curlicues, dabbles, stipples and swirls; grisaille and full color.
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The 26-year-old tenor saxophonist has set most of these original compositions at a medium-fast tempo, and her saxophone stipples and scampers, gesturing toward the influence of the alto saxophonist Steve Lehman.
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Tied with a Missoni ribbon, the braid is an eccentric flourish to her pragmatic short hair — not altogether surprising from the woman who figured out how to turn knits into a kaleidoscopic whir of zigzags, stipples and stripes.
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Similar to how a tattoo gun works, this Pointillist's pen features an electromagnetic mechanism inside that causes the tip to vibrate and produce up to 600 dots per minute, which is roughly ten times the amount of stipples an artist can produce by hand.
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In her latest work, London-based artist Anna Ridler brings this historic phenomenon into the future, using AI to produce thousands of invented "impossible" tulips, slowly developing the features that early modern collectors considered valuable — their unpredictable stripes and stipples — along with the price of bitcoin.
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It may begin as a few stipples that are angular in shape. The coloring of the stippling may range from a light reddish-purple to black. In prolonged cases the leaves will become yellow color and may eventually die. Verbesina occidentalis has been shown to effect the diversity of the plant community and the density of the other plants present.
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The red iridescence is highly directional and appears dull black from many angles. The female has a notched tail with outer feathers banded in green, black, and white and a white throat that may be plain or lightly marked with dusky streaks or stipples. Males are smaller than females and have slightly shorter bills. Juvenile males resemble adult females, though usually with heavier throat markings.
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Some specimens also have two chevrons, but the posteriormost of which cuts off a middorsal patch of reddish-brown pigment in the sacral area. Instead of chevrons, some specimens have a pair of reddish- brown dorsolateral stripes. Finally, some frogs have a pair of dorsolateral lines as well as an irregular pale median dorsal stripe. The ventrum is orange, but this color may be almost completely obscured by overlying dark brown mottling, blotches, or stipples.
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It can be assumed that the bird was of the same generally brownish coloration as its closest relatives, with a lighter underside and darker spots or stipples, the tail, brown or more probably grey, being banded and tipped black. Its feet were yellow and large relative to the bird's overall size. The wingspan was 60–70 cm, its wings being more rounded than those of the common kestrel - just as in the Mauritius bird - for increased maneuvrability when hunting in the forest. It is probable, but not certain, that the only difference between the sexes was their size.
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Lady Lucas inherited a collection of over 3,000 prints and drawings collected by Amabel Hume-Campbell, 1st Countess de Grey and her nephew Thomas de Grey, 2nd Earl de Grey. She donated this collection to the British Museum in memory of her brother, who had died of wounds suffered as a fighter pilot during World War I. She kept another collection including items on the history of printmaking, mezzotints and stipples, which (along with the contents of Wrest Park) was later sold at auction. In the early 1920s, Lady Lucas also donated a significant collection of fossils, largely from the Isle of Wight, to the Natural History Museum.
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Helen Hardin, The Woman Series: Changing Woman, Medicine Woman, and Listening Woman, 1981-1984 She was a studio artist, who from the 1960s to mid 1970s lectured and exhibited paintings at Albuquerque's Enchanted Mesa Gallery. Hardin's early artistic works were characterized as traditionally realistic and she signed them with her Tewa name, Tsa-Sah-Wee-Eh. She was influenced by her spirituality and the protective, supportive "angels" in her life. Up to 26 layers of paint - including ink washes, acrylics, airbrush and varnish - were applied to create her works; Hardin painted tiny dots called stipples; spattered paint with a toothbrush, like Anasazi pottery; and applied transparent washes. In 1964 Hardin made the painting Medicine Talk for her first major solo exhibition at Enchanted Mesa.
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