Sentence examples for all silhouettes from inspiring English sources

The phrase "all silhouettes" is correct and usable in written English.
It can be used when referring to every outline or shadow of an object or person, often in artistic or descriptive contexts.
Example: "The artist painted all silhouettes against the vibrant sunset, creating a striking contrast."
Alternatives: "every outline" or "all shadows".

Exact(4)

All silhouettes were aligned by the center of the mass.

(a) We resize images to d x ×d y, to ensure that all silhouettes have the same height.

In [13], a preprocessing stage is put forward in order to register all silhouettes of hand images to a fixed pose enabling therefore feature approaches like independent component analysis.

Once all silhouettes are combined in a single plot, the average value can be used to select the most appropriate number of clusters.

Similar(55)

"All the silhouettes of jackets are deconstructed and the aim was to find a way to represent the power of the company and at same time to give some poetry and elegance in a languid way.

Another woman noticed that all the silhouettes of women on the walls were black women; she added speech marks to them with quotes instead of just representing prison as something for black women.

He turned the page to a 1947 coat that, against the northern sky, was all silhouette.

Stanley Tigerman, in Chicago, has built an all-black house that strikes you as all silhouette — no edges or shadows, pure form.

We timed our game drives in Chobe National Park to coincide with sunset, when animals by the hundreds come down to the Chobe River to drink: elephants, buffaloes, zebras, wildebeest, spiral-horned kudu and the rare velvety black-brown sable antelope, all silhouetted against a dusty pink sky aglow with the day's last rays.

The system then segments all image-space silhouettes of the projected surface, identifies among all silhouette segments the best matching part, derives vertices in the surface mesh corresponding to the silhouette part, selects a sub-region of the mesh to be modified, and feeds appropriately modified vertex positions together with the sub-mesh into a mesh deformation tool.

"African American" (1997), Ms. Walker's large print depicting the all-black silhouette of a voluptuous, nude African woman with abundant pubic hair, offers a compelling explanation for the attraction of the primitive: its association with sexuality and semiconscious instinctual urges.

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