Traducción de umber en español:

umber

sombra, n.

Pronunciación: /ˈəmbər//ˈʌmbə/

nombre

  • 1

    sombra femenino
    • With horizontal swaths of greens and umber on their lower portions and lightening shades of blue at the top, the paintings suggest landscapes.
    • The name of the small river that runs down the combe, the Umber, is a clue to the fact that the mineral pigment, umber, also used to be dug and processed in the village.
    • I recall seeing bundles of this bleached umber root in the markets of Kathmandu, and have watched villagers harvest it in the high pastures of Dolpo in western Nepal.
    • Dark brown umber on bright yellow is featured in one Ziss painting, and purple-inflected blue set against pale green in another.
    • In such works as Maternity (c. 1892; New York, MoMa), painted in a narrow range of umbers, he cultivated a technique in which form was dissolved in a mysterious and misty haze.
    • What this means is that when this umber is combined with any good, saturated colour, that other colour will lose most of it's gray properties.
    • Supergene, manganiferous clay umbers are intimately associated with both the iron and barite deposits.
    • After laying down discrete patches of dark umber in grid formations, Briggs dragged an unloaded brush through the pigment, leaving behind episodic squiggles that vaguely resemble Chinese characters.
    • Beneath them, swimming between steel ribs which are now covered in sponges, you will usually see a shoal of black umbers.
    • Natural ochres, siennas, and umbers are found in a range of colours from red, orange, yellow, and brown to virtually black.
    • As will be seen from the chemical analysis of raw umber, it contains quite a high percentage of manganese dioxide.
    • Raw Umber came to prominence as an Italian pigment and it is named by the Italian word for shadow or darkness.
    • For the nine paintings in this exhibition, Howell mixed titanium white, ivory black and raw umber - the raw umber prevents bluing - in carefully calculated ratios to achieve what he calls ‘a movement of gray toward light and dark.’
    • When Claude Monet wanted a brown, he typically mixed it from primary colors rather than using traditional earth pigments such as sienna and umber.
    • I don't use Raw Umber nearly enough.