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A white cross-shaped bandage symbol denotes pain. [D 3]: 55 In older manga, eyes pop out to symbolize pain, as shown in Dragon Ball. [citation needed] Thick black lines around the character may indicate trembling due to anger, shock or astonishment. [5] [D 3]: 107 This is usually accompanied by a rigid pose or super deformed styling.
Chinese character Qi (气), Spring and Autumn period The clouds physical characteristics (being wispy and vaporous in nature) were associated with the Taoist concept of qi (气; 氣), especially yuanqi, [3]: 133 and the cosmological forces at work; [1] [note 4] i.e. the yuanqi was the origins of the Heavens and Earth, and all things were created from the interaction between the yin and yang.
The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost identical to meanders.
The drawing on the upper right shows a moiré pattern. The lines could represent fibers in moiré silk, or lines drawn on paper or on a computer screen. The nonlinear interaction of the optical patterns of lines creates a real and visible pattern of roughly parallel dark and light bands, the moiré pattern, superimposed on the lines. [4]
Another use of line in graphics is the ability to help suggest a tone or feeling in a work. Vertical lines can be used to create a sense of strength or stability. An example of this could be a row of trees in a picture creating a series of vertical lines. Horizontal lines can be used to create a feeling of calm, peace or passiveness.
The exhibition was in part a response to the trend of major art institutions to overlook the work of African-American artists. Bearden had suggested the exhibition's black-and-white theme because it comprised both socio-political and formal concerns. The Spiral group was relatively ignored in much traditional art history since its demise. [5]
Alfred Blaschko, a private practice dermatologist from Berlin, first described and drew the patterns of the lines of Blaschko in 1901. He obtained his data by studying over 140 patients with various nevoid and acquired skin diseases and transposed the visible patterns the diseases followed onto dolls and statues, then compiled the patterns onto a composite schematic of the human body.
The value of the line function at this midpoint is the sole determinant of which point should be chosen. The adjacent image shows the blue point (2,2) chosen to be on the line with two candidate points in green (3,2) and (3,3). The black point (3, 2.5) is the midpoint between the two candidate points.