Sentence examples for arrangements of lines from inspiring English sources

Wielding acoustic guitars, they play and, in scored parts, sing a song with lyrics that are varying arrangements of lines from the seduction scene's stilted dialogue.

Perhaps the most concise criticism of this show comes from Ms. Pibal's own work: two paintings with more assertive colors and emphatic arrangements of lines currently on view in a group show at Feature on the Lower East Side.

Art is there to be enjoyed, to be savoured, for the perception of the intricate arrangements of lines and colours, of musical tones, of words, and combinations of these.

By contrast, a non-art drawing that simply suggests emotions through arrangements of lines and colors is similar to a signboard that indicates but does not contain meaning: it is only enjoyed because of what they remind us of.

(Whistler saw his works as "arrangements" of line, form and color, at times borrowing a musical vocabulary to describe them).

Finally, since various arrangements of line dipoles can simulate practical magnetic fields, the effect of using four line dipoles on the convective heat transfer was evaluated, and this arrangement caused about 50%% improvement in the average convective heat transfer coefficients at both walls.

The addition of a chordal instrument means that Mr. Sanchez doesn't have to map out his harmony in blueprint form, as an arrangement of lines.

Part of the viewer's full experience of a great painting is to allow the arrangement of lines, shapes, and accents of tone or colour to guide the eye across the picture surface at controlled tempos and rhythmic directions.

One inspired example in this small show is the totally abstract "Minneapolis Box Cars No. 2" (1949-61), a masterly arrangement of lines and geometric shapes, inflected by contrapuntal colors, that cunningly leads the eye by means of tilted flats and linear tracks into a depth not at first suspected.

A major determinant of tooth architecture is the arrangement of lines in dentin and in the enamel following the contour of the surface.

The idea in particular that free beauty is completely separated from practical use and that the experiencer of it is not concerned with the actual existence of the object leads Kant to conclude that absolute or free beauty is found in the form or design of the object, or as Clive Bell put it, in the arrangement of lines and colors (in the case of painting) (Bell 1914).