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Port with the disembarkation of Cleopatra in Tarsus (1642), by Claude Lorrain, Musée du Louvre, Paris. Light in painting fulfills several objectives like, both plastic and aesthetic: on the one hand, it is a fundamental factor in the technical representation of the work, since its presence determines the vision of the projected image, as it affects certain values such as color, texture and ...
Gloss reflection. Gloss is an optical property which indicates how well a surface reflects light in a specular (mirror-like) direction. It is one of the important parameters that are used to describe the visual appearance of an object.
Light Reflection – the main goal of anti-reflective coatings is to reduce the light reflection that causes the so-called glare. Therefore, the lower the light reflection, the less glare reaches the viewer. The best anti-reflective products available for the picture framing market have light reflection of 0.5%.
However, if a monochromatic light is used to illuminate the work piece, such as helium, low-pressure sodium, or a laser, then a series of dark and light interference fringes will form. These interference fringes determine the flatness of the work piece, relative to the optical flat, to within a fraction of the wavelength of the light.
In the simplest form of camera lucida, the artist looks down at the drawing surface through a glass pane or half-silvered mirror tilted at 45 degrees. This superimposes a direct view of the drawing surface beneath, and a reflected view of a scene horizontally in front of the artist. This design produces an inverted image which is right-left ...
Lens flare on Borobudur stairs to enhance the sense of ascending. A lens flare is often deliberately used to invoke a sense of drama. A lens flare is also useful when added to an artificial or modified image composition because it adds a sense of realism, implying that the image is an un-edited original photograph of a "real life" scene.
For Suger, stained glass became a way to create a glowing, unworldly light ideal for religious reflection. [4] Suger described the finished work at Saint-Denis as "a circular string of chapels, by virtue of which the whole church would shine with the wonderful and uninterrupted light of most luminous windows, pervading the interior beauty". [3]
The play of natural light is emphasized. Close attention is paid to the reflection of colors from object to object. In Still Life with Glass of Absinthe and a Carafe (F339) Van Gogh paints a glass of absinthe that is made lighter by sunlight from the cafe window. [57]