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Soft rime is a white ice deposition that forms when the water droplets in light freezing fog or mist freeze to the outer surfaces of objects during calm or light wind. The fog usually freezes to the windward side of solid objects, particularly those with a likeness to that of tree branches and wires.
Glazes can change the chroma, value, hue and texture of a surface. Glazes consist of a great amount of binding medium in relation to a very small amount of pigment. [1] Drying time will depend on the amount and type of paint medium used in the glaze. The medium, base, or vehicle is the mixture to which the dry pigment is added.
It generally form as rime or mixed icing and tends to be confined in a 3,000–4,000 ft (910–1,200 m) thick layer. In contrast, icing intensity level in cumuliform clouds may range from trace for small cumulus to severe for large ones in the form of clear or mixed icing in the upper levels and can extend to great heights.
Underglaze is a method of decorating pottery in which painted decoration is applied to the surface before it is covered with a transparent ceramic glaze and fired in a kiln. Because the glaze subsequently covers it, such decoration is completely durable, and it also allows the production of pottery with a surface that has a uniform sheen.
Photographic images, eventual replacement for JPEG. Yes PGM: Portable Graymap File Format ASCII.pgm image/x-portable-graymap Yes PGML: Precision Graphics Markup Language Adobe Systems, IBM, Netscape, Sun Microsystems: Yes PICT: Macintosh PICT Format Apple Inc..pict, .pic, .pct,.pct1, .pct2 image/pict Metafile for Classic Mac OS, not meant for ...
Foreign musicians on camel. Sancai glaze, 723 AD, Xi'an. Sancai wares were made in north China using white and buff-firing secondary kaolins and fire clays. [7] Sancai follows the development of green-glazed pottery dating back to the Han period (25–220 AD); the brown glaze was also known to the Han, but they only very rarely mixed the two in a single piece. [10]
Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
Hans Memling wing, with donor portrait in colour below grisaille Madonna imitating sculpture. Giotto used grisaille in the lower registers of his frescoes in the Scrovegni Chapel in Padua (c. 1304) and Robert Campin, Jan van Eyck and their successors painted grisaille figures on the outsides of the wings of triptychs, including the Ghent Altarpiece.