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...characteristics when it comes to their sexual behavior," he says. Both gay and straight men, for example, tend to prefer younger partners, in contrast to women, who gravitate toward older partners. Most men are also more likely than women to engage in casual sex, and to be aroused by visual stimuli. "So I expect that some regions of the brain will remain masculine even in gay men," says Vilain. For something as complex as sexual orientation, it's no surprise that everything from genes to gender to environment may play a role in ultimately determining your perfect partner...

Author: /time Magazine | Title: What the Gay Brain Looks Like | 6/17/2008 | See Source »

...Stan Winston was of that small, brilliant, edifyingly demented breed of special-effects makeup men. Not visual effects, you understand: these folks don't sit at computers and play with pixels, a technique that requires an actor to stand in front of a green screen and mime fear. They are old-fashioned craftsmen, using spirit gum and other medieval (and modern) applications to devise prostheses so horrid, so hand-made, they'd scare anyone on the set. In a tradition stretching back to silent-film star Lon Chaney, the SPFX makeup men, in essence, build scary masks. They make horror...

Author: /time Magazine | Title: Stan Winston: Monster Magician | 6/16/2008 | See Source »

...time of Jurassic Park, in 1993, the seven-ton T. Rex he built was only part of the visual trickery. The rest was the breakthrough digital sorcery supplied by George Lucas' Industrial Light & Magic. Since then, fans have wondered apprehensively, is Winston's an obsolescent art? (In his last days he was transforming his studio to emphasize the digital.) Will makeup effects soon seem as anachronistic as the papier-mache monster suits worn in the grade-Z horror movies...

Author: /time Magazine | Title: Stan Winston: Monster Magician | 6/16/2008 | See Source »

...wasn't until the 1980s that graphic designers felt able to properly reference Chinese themes. China's economic reforms, and Hong Kong's imminent decolonization, prompted the quest for a common visual identity. This took place not only at the very moment that Western consumers began exhibiting unprecedented curiosity about Chinese belief systems and culture, but also at a time when multinational brands needed a sinicized graphic language in order to address hundreds of millions of Chinese shoppers. A postmodern Chinese style subsequently entered the global marketplace, appropriating elements of brushstroke calligraphy, Buddhist iconography, imperial and folk art, Shanghai...

Author: /time Magazine | Title: A Graphic Account | 6/12/2008 | See Source »

...grunts and sighs, or in one-word bursts, like a chattier R2-D2. The movie's other main creature, a robot named EVE, also can speak only a few words. Yet it's Pixar's big, bold belief that the mass audience will be astute enough to follow the visual clues and game enough to play along. So confident is the studio in its ability to charm audiences, it has made a futurist movie that's a lot like an old silent picture...

Author: /time Magazine | Title: WALL-E: Pixar's Biggest Gamble | 6/12/2008 | See Source »

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