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| Paint and other finishes come in a variety of finish gloss levels, which correspond to different levels of specular reflection. Some common names for levels of gloss include: flat, matte, eggshell, satin, silk, semi-gloss, high gloss. These terms are not standardized, and not all manufacturers use all these terms. |
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| can describe either the techniques and materials used to control the development of a work of art by protecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to be concealed from conscious attention. |
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| any material that protects areas of a work from unintended change. In airbrushing, a frisket is a plastic sheet with an adhesive backing used to mask off specific areas of an image so that only the exposed area is covered with paint. The frisket is vital to airbrushing, because it allows the artist to control excess paint spray, create special effects, achieve extreme precision, control edge attributes and to expedite the airbrushing process. |
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| a technique used in computer graphics software to smooth or blur the edges of a feature. The term is inherited from a technique of fine retouching using fine feathers. |
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| is a surrealist and "automatic" method of creative production developed by Max Ernst. In frottage the artist takes a pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as is or used as the basis for further refinement. While superficially similar to brass rubbing and other forms of rubbing intended to reproduce an existing subject, and in fact sometimes being used as an alternate term for it, frottage differs in being aleatoric and random in nature. |
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| In a drawing or painting, the dots are made of pigment of a single colour, applied with a pen or brush; the denser the dots, the darker the apparent shade—or lighter, if the pigment is lighter than the surface. This is similar to—but distinct from—pointillism, which uses dots of different colours to simulate blended colours. In printmaking, dots may be carved out of a surface to which ink will be applied, to produce either a greater or lesser density of ink depending on the printing technique. In engraving, the technique was invented by Giulio Campagnola in about 1510. Stippling may also be used in engraving or sculpting an object even when there is no ink or paint involved, either to change the texture of the object, or to produce the appearance of light or dark shading depending on the reflective properties of the surface: for instance, stipple engraving on glass produces areas that appear brighter than the surrounding glass. |
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| a technique of applying layers of colored plaster or ceramic to a moistened surface, then scratching the surface, to produce an outline drawing or texture. The word "Sgraffito" derives from the Italian word graffiare |
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| can change the chroma, value, hue and texture of a surface. Drying time will depend on the amount and type of paint medium used in the glaze. The medium, base, or vehicle is the mixture to which the dry pigment is added. Different media can increase or decrease the rate at which oil paints dry. |
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| use the incompatibility of two mediums to create layered effects with colour and texture. Children often discover resist techniques by experimenting with watercolour paints and crayons on paper. The wax crayon repels watercolour paint that is brushed over it; the watercolour paint adheres to the paper surrounding the crayon. Artists create designs with pastels and watercolours, scratching out the pastel once the watercolour has dried to reveal the paint-free paper beneath. Other mediums can be used in similar resist techniques. |
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| an art technique used for transferring an image from one surface to another. It is similar to tracing, and is useful for creating copies of a sketch outline to produce finished works. Pouncing has been a common technique for centuries, used to create copies of portraits and other works that would be finished as oil paintings, engravings, and so on. The most common method involves laying semi-transparent paper over the original image, then tracing along the lines of the image by creating pricked marks on the top sheet of paper |
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| is any image that consists of distinct straight and curved lines placed against a (usually plain) background, without gradations in shade (darkness) or hue (color) to represent two-dimensional or three-dimensional objects. Line art can use lines of different colors, although line art is usually monochromatic. Overall it is a great piece of art and refreshment for those who love painting. It is also called line drawing. |
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| a graphic symbol that represents an idea or concept. Some ideograms are comprehensible only by familiarity with prior convention; others convey their meaning through pictorial resemblance to a physical object, and thus may also be referred to as pictograms |
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| an element of writing: an individual mark on a written medium that contributes to the meaning of what is written. A glyph is made up of one or more graphemes |
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| tool is very important in photograph manipulation on computer graphics software. The clone tool is used to actively copy and offset pixels from one area of an image to another while the artist moves the clone tool around the area to be copied. |
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| a finishing process used on cloth where fabric is folded in half and passed under rollers at high temperatures and pressures. Calendering is used on fabrics such as moire to produce its watered effect and also on cambric and some types of sateens. Fabrics that go through the calendering process feel thin, glossy and papery.. form of paper making |
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| is a surrealist painting technique invented by Wolfgang Paalen in which impressions are made by the smoke of a candle or kerosene lamp on a piece of paper or canvas. |
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is a manufacturing process by which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. The solidified part is also known as a casting, which is ejected or broken out of the mold to complete the process. Casting materials are usually metals or various cold setting materials that cure after mixing two or more components together; examples are epoxy, concrete, plaster and clay. Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods.[1]
Casting is a 6000 year old process.[2] The oldest surviving casting is a copper frog from 3200 BC
Plaster itself may be cast, as can other chemical setting materials such as concrete or plastic resin - either using single-use waste molds as noted above or multiple-use 'piece' molds, or molds made of small ridged pieces or of flexible material such as latex rubber (which is in turn supported by an exterior mold). When casting plaster or concrete, the finished product is, unlike marble, unattractive, lacking in transparency, and so it is usually painted, often in ways that give the appearance of metal or stone
By casting concrete, rather than plaster, it is possible to create sculptures, fountains, or seating for outdoor use. A simulation of high-quality marble may be made using certain chemically-set plastic resins (for example epoxy or polyester) with powdered stone added for coloration, often with multiple colors worked in. |
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| is a technique for the mass-production of pottery, especially for shapes not easily made on a wheel. A liquid clay body slip (usually mixed in a blunger) is poured into plaster moulds and allowed to form a layer, the cast, on the inside cavity of the mould. In a solid cast mould, ceramic objects such as handles and platters are surrounded by plaster on all sides with a reservoir for slip, and are removed when the solid piece is held within. For a hollow cast mould, once the plaster has absorbed most of the liquid from the outside layer of clay the remaining slip is poured off for later use. The cast piece is removed from the mould, "fettled" (trimmed neatly) and allowed to dry. This produces a greenware piece which is then dried before firing, with or without decoration and glaze. The technique is suited to the production of complex shapes, and is commonly used for sanitary ware, such as toilets and basins, and smaller pieces like figurines and teapots. The technique can also be used for small-scale production runs or to produce limited editions of objects. |
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When slip is "poured" into the cavity of the mould, the plaster of Paris immediately begins to absorb water out of the slip. This causes clay to form and thicken where it is in contact with the plaster walls. When the clay has formed to the proper thickness, the remaining slip in the centre of the mould cavity is "drained" off. The clay in contact with the plaster remains and is permitted to stay until it dries sufficiently to attain a "leather" consistency. At this point the clay casting will separate easily from the plaster surface and can be removed from the mould. The addition of water glass, or a "wetting agent" as it is often called, necessitates less water for the mixture. In slip with water glass the clay will not settle out, can be stored in a sealed or lidded container for long periods, and is ready for use with little re-stirring.
Glass casting is the process in which glass objects are cast by directing molten glass into a mould where it solidifies. The technique has been used since the Egyptian period. Modern cast glass is formed by a variety of processes such as kiln casting, or casting into sand, graphite or metal moulds. |
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| or mould is a hollowed-out block that is filled with a liquid like plastic, glass, metal, or ceramic raw materials. The liquid hardens or sets inside the mold, adopting its shape. A mold is the counterpart to a cast. The manufacturer who makes the molds is called the moldmaker. A release agent is typically used to make removal of the hardened/set substance from the mold easier. |
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| is metal casting process that employs reusable molds ("permanent molds"), usually made from metal. The most common process uses gravity to fill the mold, however gas pressure or a vacuum are also used. A variation on the typical gravity casting process, called slush casting, produces hollow castings. Common casting metals are aluminum, magnesium, and copper alloys. Other materials include tin, zinc, and lead alloys and iron and steel are also cast in graphite molds |
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| also known as sand molded casting, is a metal casting process characterized by using sand as the mold material. It is relatively cheap and sufficiently refractory even for steel foundry use. A suitable bonding agent (usually clay) is mixed or occurs with the sand. The mixture is moistened with water to develop strength and plasticity of the clay and to make the aggregate suitable for molding. The term "sand casting" can also refer to an object produced via the sand casting process |
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| is similar to sand casting, but the molding cavity is formed by a hardened "shell" of sand instead of a flask filled with sand. The sand used is finer than sand casting sand and is mixed with a resin so that it can be heated by the pattern and hardened into a shell around the pattern. Because of the resin and finer sand, it gives a much finer surface finish. The process is easily automated and more precise than sand casting. Common metals that are cast include cast iron, aluminium, magnesium, and copper alloys. This process is ideal for complex items that are small to medium sized. |
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| investment casting (lost wax casting) |
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is a process that has been practised for thousands of years, with the lost-wax process being one of the oldest known metal forming techniques. From 5000 years ago, when beeswax formed the pattern, to today’s high technology waxes, refractory materials and specialist alloys, the castings ensure high-quality components are produced with the key benefits of accuracy, repeatability, versatility and integrity.
Investment casting derives its name from the fact that the pattern is invested, or surrounded, with a refractory material. |
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| , the moulding process selected depends upon two main factors: the geometry of the component to be moulded and the material from which it is to be made. There are two main groups of plastic moulding materials: thermoplastic materials that soften every time they are heated, and thermosetting plastic materials that undergo a chemical change during moulding and cannot be softened again by heating. |
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| There are three types of shrinkage: shrinkage of the liquid, solidification shrinkage and patternmaker's shrinkage. The shrinkage of the liquid is rarely a problem because more material is flowing into the mold behind it. Solidification shrinkage occurs because metals are less dense as a liquid than a solid, so during solidification the metal density dramatically increases. Patternmaker's shrinkage refers to the shrinkage that occurs when the material is cooled from the solidification temperature to room temperature, which occurs due to thermal contraction. |
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| During the Roman period moulds consisting of two or more interlocking parts were used to create blank glass dishes. Glass could be added to the mould either by frit casting, where the mould was filled with chips of glass (called frit) and then heated to melt the glass, or by pouring molten glass into the mould |
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| the process of casting metal from a wax positive, is an intricate and potentially dangerous one generally only performed by a competent founder |
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| describes the deformation of a material undergoing non-reversible changes of shape in response to applied forces.[1] For example, a solid piece of metal being bent or pounded into a new shape displays plasticity as permanent changes occur within the material itself. |
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(one of several types of metalpoint) is a traditional drawing technique first used by Medieval scribes on manuscripts.
A silverpoint drawing is made by dragging a silver rod or wire across a surface, often prepared with gesso or primer. Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times. Metalpoint styli were used for writing on soft surfaces (wax or bark), ruling and underdrawing on parchment, and drawing on prepared paper and panel supports. For drawing purposes, the essential metals used were lead, tin and silver. The softness of these metals made them effective drawing instruments. (Watrous, 1957) Goldsmiths also used metalpoint drawings to prepare their detailed, meticulous designs. Albrecht Dürer's father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484 self-portrait at age 13 is still considered a masterpiece.
In the late Gothic/early Renaissance era, silverpoint emerged as a fine line drawing technique. Silverpoint drawings of this era include model books and preparatory sheets for paintings. Artists who worked in silverpoint include Jan van Eyck, Leonardo da Vinci, Albrecht Dürer and Raphael. |
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| is the study or collection of currency, including coins, tokens, paper money, and related objects. |
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| similar to a talisman, is any object intended to bring good luck or protection to its owner. Potential amulets include gems, especially engraved gems, statues, coins, drawings, pendants, rings, plants and animals; even words in the form of a magical spell, incantation, to repel evil or bad luck. |
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| is a device used to present an idea, principle or meaning, which can be presented in literary form, such as a poem or novel, in musical form, such as composition or lyric, or in visual form, such as in painting or drawing. As an artistic device, an allegory is a visual symbolic representation. An example of a simple visual allegory is the image of the grim reaper. Viewers understand that the image of the grim reaper is a symbolic representation of death. |
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is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln.
The technique was in ancient times mostly used for jewelry and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloison walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewellery, and now always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonné enamel objects using Chinese-derived styles were produced in the West from the 18th century. |
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| is a metalworking technique in which a malleable metal is ornamented or shaped by hammering from the reverse side to create a design in low relief. There are few techniques that offer such diversity of expression while still being relatively economical. Chasing is the opposite technique to repoussé, and the two are used in conjunction to create a finished piece. It is also known as embossing. While repoussé is used to work on the reverse of the metal to form a raised design on the front, chasing is used to refine the design on the front of the work by sinking the metal. The term chasing is derived from the noun "chase", which refers to a groove, furrow, channel or indentation. The adjectival form is "chased work". The techniques of repoussé and chasing utilise the plasticity of metal, forming shapes by degrees |
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| was the first commercially successful photographic process. The image is a direct positive made in the camera on a silvered copper plate. The raw material for plates was called Sheffield plate, |
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| ambrotype or amphitype is |
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| a photograph that creates a positive image on a sheet of glass using the wet plate collodion process. |
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| also melainotype and ferrotype, is a photograph made by creating a direct positive on a sheet of iron metal that is blackened by painting, lacquering or enamelling and is used as a support for a collodion photographic emulsion |
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| the action of forming a united whole |
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| lack of variety, repetition and sameness. |
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| the state of being joined as a whole, harmony " a think forming a complex whole" |
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| forming of a pleasant and consistent whole |
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| refers to the degree of uniformity of structure throughout a work of art. It can also refer to a work of art that is composed of parts that are all of the same kind. |
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| a term used in painting, meaning an initial stain of color painted on a ground. It provides a painter with a transparent, toned ground, which will allow light falling onto the painting to reflect through the paint layers. The term itself stems from the Italian and literally means "first paint layer". Its use as an underpainting layer can be dated back to the guilds and workshops during the Middle Ages; however, it comes into standard use by painters during the Renaissance, particularly in Italy. |
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| an artists obsession with creating marks in every space of the work. indicated by a surface that is crowded with graphics. means "fear of empty space" |
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| objects share the same center, axis or origin with one inside the other. Circles, tubes, cylindrical shafts, disks, and spheres may be concentric to one another. (archery) |
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| one of the earliest known forms of written expression. Emerging in Sumer around the 30th century BC, with predecessors reaching into the late 4th millennium (the Uruk IV period), cuneiform writing began as a system of pictographs. |
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| is a writing utensil, or a small tool for some other form of marking or shaping, for example in pottery. |
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| is a knot that may be used to keep an object or multiple loose objects together, using a string or a rope that passes at least once around them. |
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| is the process of physically assembling a book from a number of folded or unfolded sheets of paper or other material. It usually involves attaching a book cover to the resulting text-block. |
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An aleatoric composition is one dependent on chance, random accident, or highly improvisational execution. Artists of those type of works are typically hoping to obtain freedom from the
past, and various types of limitations. |
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| to give a formal status to something |
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| Dichromacy is a type of colorblindness in which individuals have a limited ability to discriminate between red, orange, yellow, and green. It affects about two percent (2%) of the male population. |
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| was an art movement founded in 1912 by American artists Stanton MacDonald-Wright and Morgan Russell. Their abstract "synchromies", based on a theory of color that analogized it to music, were among the first abstract paintings in American art. Synchromism became the first American avant-garde art movement to receive international attention |
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| subtractive artistic process: |
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| Working with wax is considered a subtractive artistic process because the artist removes the medium in order to create a final work of art. |
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| Solarization creates a reversal of tones in a photograph through prolonged exposure or exposure to an extremely bright light. In the past, photographers such as Man Ray experimented with producing this effect in the darkroom. Today it can be achieved using photo editing software. the reversal of tones- dark is light and light is dark |
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| In photography and optics, it is a reduction of an image's brightness or saturation at the periphery ( the outside boundary) compared to the image center. |
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| an intaglio printmaking or photo-mechanical process whereby a copper plate is coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high quality intaglio print that can reproduce the detail and continuous tones of a photograph. |
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| is photography where the image produced has a single hue, rather than recording the colours of the object that was photographed. It includes all forms of black-and-white photography, which produce images containing tones of grey ranging from black to white |
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| sigmund freud subject of work: |
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| Freud wrote a critical study of da Vinci in which he explained how the artist's childhood influenced his style and working methods. Using the artist's statements about his dreams and childhood recollections, Freud analyzed the underlying meanings of da Vinci's work. |
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| in the three types of balance in a composition are symmetrical, asymmetrical, and radial. The human form is inherently symmetrical. The left side and right side mirror each other. Asymmetrical balance can be achieved by using several small objects to balance one large one. For example, on a two-page spread a graphic artist might balance a large photo on one page with three small photos on the other. Radial balance refers to the equal distribution of objects around a central point. |
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| the ancient past; the period before the middle ages |
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| was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by insane-asylum inmates |
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| the colorfulness of a color relative to its own brightness |
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| is a collection of items that are gathered together to form a total quantity. pieces of broken or crushed stone or gravel used to make concrete, or more generally in building and construction work. |
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| a paint that dries to a moderately glossy sheen |
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| refers to a white iridescent surface, such as the one shown in the image above. The silicon in the stone structure is reflected to create the illusion of color on the stone surface. |
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| in the art world refers to art produced under the influence of European academies and universities, especially the French Academie des Beaux-Arts. These institutions favored art that followed accepted rules regarding technique and subject matter. In the nineteenth century, both the Realists and the Impressionists rebelled against these conventions and introduced new approaches to art |
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| the system of theology and philosophy taught in medieval European universities, based on Aristotelian logic and the writings of the early Church Fathers and having a strong emphasis on tradition and dogma. |
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| a likeness or image, especially of a person. The term is typically associated with full-length figures of the deceased, lying with hands pressed together in prayer. |
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| describing a series of parallel ridges and furrows- seen in cardboard, iron, and plastic boards. |
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| To laminate means to build up a firm surface over a sculpture by adhering layers of material to one another. Plywood, which is made up of layers of wood grain, is a laminated product. |
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| the process of creating a three-dimensional image or design in paper and other materials Embossing is typically accomplished by applying heat and pressure with male and female dies, usually made of copper or brass, that fit together and squeeze the fibers of the substrate. |
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| is a computer graphics technique in which each pixel of an image is replaced either by a highlight or a shadow, depending on light/dark boundaries on the original image. Low contrast areas are replaced by a gray background. |
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| type of fold formed by doubling fabric back upon itself and securing it in place. It is commonly used in clothing and upholstery to gather a wide piece of fabric to a narrower circumference. Pleats are categorized as pressed, that is, ironed or otherwise heat-set into a sharp crease, or unpressed, falling in soft rounded folds. |
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| Giorgio Vasari (1511-1574) |
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| wrote the first real work of artistic commentary during the Renaissance, "The Lives of the Most Eminent Painter, Sculptors, and Architects." In keeping with the Renaissance focus on the individual, it discusses artists' work in conjunction with their lives. In other words, it is a work of biographical criticism. |
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| is the concept that a work's artistic value is entirely determined by its form—the way it is made, its purely visual aspects, and its medium. Formalism emphasizes compositional elements such as color, line, shape and texture rather than realism, context, and content. In visual art, formalism is a concept that posits that everything necessary to comprehending a work of art is contained within the work of art. The context for the work, including the reason for its creation, the historical background, and the life of the artist, is considered to be of secondary importance. Formalism is an approach to understanding art. |
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| is the branch of art history which studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. |
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| also called semiotic studies is the study of signs and sign processes (semiosis), indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication. |
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| a type of textile, traditionally of silk but now also of cotton or synthetic fiber, with a rippled or 'watered' appearance. |
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| is a psychological theory conceived in the late 19th and early 20th centuries by Austrian neurologist Sigmund Freud. a system of psychological theory and therapy that aims to treat mental disorders by investigating the interaction of conscious and unconscious elements in the mind and bringing repressed fears and conflicts into the conscious mind by techniques such as dream interpretation and free association. |
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| is an interference pattern created, for example, when two grids are overlaid at an angle, or when they have slightly different mesh sizes. (seen as op art) |
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| artist takes a pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as is or used as the basis for further refinement. frottage differs in being aleatoric and random in nature |
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| refers to the appearance of patches or spots of color on paper. The mottled effect can also be found on animals or plants in nature. |
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| is a thick, gluey substance produced by most plants and some microorganisms. used as a glue |
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| A mezzotint is the reverse of etching in that the artist begins with a black rather than white background. To add light to a mezzotint, the artist removes ink from portions of the plate. |
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| is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf and so on. |
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| defined as the process of tearing away parts of posters or other images which are adhered to each other in layers, so that portions of the underlayers contribute to the final image |
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Cold-pressed paper, also called "Not," has a medium textured surface. It holds paint better than hot-pressed (smooth) paper. Unlike rough paper, it does not catch the brush and cause brushstrokes to break up.
Cold press watercolor paper has texture. Little bumps and groves holds in the water and pigment. It really sucks up the water pretty quickly. Cold press is a good choice when you want to convey texture in your subject. |
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| is super smooth. No texture with this paper. This paper doesn’t suck up the water as fast as the cold press, allowing you to play around more, like re-wetting edges of pigment. |
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| broken color/fragmented color |
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| Broken color is a technique developed in the nineteenth century. In this technique, forms are portrayed with individual strokes of different colors rather than making each a solid color. This effect can be clearly seen in paintings such as van Gogh's "Starry Night," in which the sky, the moon, and the stars are painted as swirls of different colors. |
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| refers to the era of rapid economic and population growth in the United States during the post–Civil War and post-Reconstruction eras of the late 19th century. |
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| is a framework around which the sculpture is built. This framework provides structure and stability, especially when a plastic material such as wax or clay is being used as the medium |
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