MEDIUM - Any vehicle used to facilitate the union or mixing of colors.
MONOCHROME - Any graphic production executed in one color only.
MODEL - To interpret form by light and shade; also to mold in clay.
MANNERISM - Any marked manner or peculiarity adopted by a painter and constantly repeated in his work.
NUDE - Although the same word as naked, there is a shade of difference in its association with art which makes it preferable to the latter word. "The Nude" in art, refers merely to undraped figures.
OILING-OUT - The application of oil to a painting when dry, for the purpose of restoring its brilliancy of tone, and also to soften the surface so as to receive fresh color.
PASTICIIE - (Fr.) A term denoting an imitation or plagiarism of another's stele.
PIGMENT - The actual substance of which color is composed. The paint itself.
PORTE-CRAYON - Crayon-holder.
PRIMARY Col.oRs - Red, yellow and blue. These colors are those from which other colors may be made, but which no combination of other colors can produce. The colors directly produced from mixing these primary colors are called secondary colors.
Wednesday, October 12, 2011
DEFINITIONS OF ART TERMS -- Part 4
HANDLING - The mechanical manner of interpreting objects. The manual act of painting, brush work.
HARD - A rigidity of technique-the reverse of suavity of touch. As applied to a whole picture it signifies an unsympathetic and mechanical execution.
HATCHING - The laying on of strokes of brush or pencil in parallel lines, which are crossed and recrossed in the deeper shadows. This is most frequently used in crayon, pen-and-ink drawing, fresco work, and miniature painting.
HIGH LIGHT - The lightest parts of a picture, caused by the direct light falling upon objects.
IMPASTO - (Ital.) The manner of laying on the color in a picture with a view to the respective textures to be represented, but irrespective of light, shade, or color. Also refers to the thickness of the paint.
LABORED - When the effort by which a painting is produced is too evident, it is said to be labored.
LOCAL - The local color of an object is the nominal tint by which it is known, uninfluenced by any accidental conditions.
LAY-IN - The first application of pigment to a canvas is called the lay-in. A preparation for painting.
MASSES - In regarding an object in broad effects of light and shade without the introduction of any detail whatever, it is said to be seen in masses.
HARD - A rigidity of technique-the reverse of suavity of touch. As applied to a whole picture it signifies an unsympathetic and mechanical execution.
HATCHING - The laying on of strokes of brush or pencil in parallel lines, which are crossed and recrossed in the deeper shadows. This is most frequently used in crayon, pen-and-ink drawing, fresco work, and miniature painting.
HIGH LIGHT - The lightest parts of a picture, caused by the direct light falling upon objects.
IMPASTO - (Ital.) The manner of laying on the color in a picture with a view to the respective textures to be represented, but irrespective of light, shade, or color. Also refers to the thickness of the paint.
LABORED - When the effort by which a painting is produced is too evident, it is said to be labored.
LOCAL - The local color of an object is the nominal tint by which it is known, uninfluenced by any accidental conditions.
LAY-IN - The first application of pigment to a canvas is called the lay-in. A preparation for painting.
MASSES - In regarding an object in broad effects of light and shade without the introduction of any detail whatever, it is said to be seen in masses.
Tuesday, October 11, 2011
DEFINITIONS OF ART TERMS -- Part 3
EXECUflON - The technical method of producing a work of art.
FINISH - This is a term, generally accepted as signifying a mere elaboration of the details of a picture, which is sometimes irrespective of consistent results. Finish, in a fuller sense, is the just and harmonious completion of a picture.
Foxy - When an excess of reddish-brown is observable in a picture it is said to be foxy.
FRESCO - The practice of painting on walls, while they are still fresh. (Fresco, Ital.)
FLAT - The lack of modeling and relief, in painting.
FROTTÉ - (Fr.) The first preparation of a picture in one tone of thin color as a groundwork. Derived from the French word, signifying to rub.
Fix - To attach the particles of charcoal, crayon or pencil to the paper in a drawing so that it shall not rub, or become defaced.
GLAZE - The application of transparent color thinned with oil, to parts or the whole of a picture in order to modify the tone or color. The paint must be dry before glazing can be employed.
GENRE - (Fr.) A French word meaning literally sort or kind, but used in art to express a representation of domestic life, or a subject telling a story of ordinary existence.
GRANDEUR - The quality of a lofty style or nobility of conception in art.
HALF-TINT - An intermediate tone in painting.
FINISH - This is a term, generally accepted as signifying a mere elaboration of the details of a picture, which is sometimes irrespective of consistent results. Finish, in a fuller sense, is the just and harmonious completion of a picture.
Foxy - When an excess of reddish-brown is observable in a picture it is said to be foxy.
FRESCO - The practice of painting on walls, while they are still fresh. (Fresco, Ital.)
FLAT - The lack of modeling and relief, in painting.
FROTTÉ - (Fr.) The first preparation of a picture in one tone of thin color as a groundwork. Derived from the French word, signifying to rub.
Fix - To attach the particles of charcoal, crayon or pencil to the paper in a drawing so that it shall not rub, or become defaced.
GLAZE - The application of transparent color thinned with oil, to parts or the whole of a picture in order to modify the tone or color. The paint must be dry before glazing can be employed.
GENRE - (Fr.) A French word meaning literally sort or kind, but used in art to express a representation of domestic life, or a subject telling a story of ordinary existence.
GRANDEUR - The quality of a lofty style or nobility of conception in art.
HALF-TINT - An intermediate tone in painting.
DEFINITIONS OF ART TERMS -- Part 2
COLORIST - The term which designates an artist who excels in coloring.
CONNOISSEUR - One who understands a work of art, a judge, literally, a knower.
Copy - A reproduction made by hand from some painting or other work of art.
CRUDE - A raw or immature condition of work in a picture.
COMPARATIVE MEASUREMENT - The opposite of actual measurement; measuring by comparative proportions of given objects, selecting one as a standard with which others are compared to ascertain their relative proportions.
DRY - A flat and unsympathetic manner of painting. A lack of technical freedom and address.
DETAIL - Literally opposed to mass. The parts in a picture demanding and receiving careful attention and finish.
EFFECT - The impression produced by a work of art. This may be secured by a studied or unstudied effort, but whatever strikes the beholder's senses as a dominant feature in a picture or sculpture, be it color, light and shade, or mere force of grouping, may be spoken of as its ejfect.
CONNOISSEUR - One who understands a work of art, a judge, literally, a knower.
Copy - A reproduction made by hand from some painting or other work of art.
CRUDE - A raw or immature condition of work in a picture.
COMPARATIVE MEASUREMENT - The opposite of actual measurement; measuring by comparative proportions of given objects, selecting one as a standard with which others are compared to ascertain their relative proportions.
DRY - A flat and unsympathetic manner of painting. A lack of technical freedom and address.
DETAIL - Literally opposed to mass. The parts in a picture demanding and receiving careful attention and finish.
EFFECT - The impression produced by a work of art. This may be secured by a studied or unstudied effort, but whatever strikes the beholder's senses as a dominant feature in a picture or sculpture, be it color, light and shade, or mere force of grouping, may be spoken of as its ejfect.
Sunday, October 9, 2011
DEFINITIONS OF ART TERMS -- Part 1
AQUAREL - A water-color painting.
AMATEUR - A lover of art. One also who practices art in an unprofessional way.
ALLEGORY - A painting possessed of a significance removed from the actual. Allegorical painting is somewhat literary in its character, an artistic interpretation of a parable, as it were.
ACCESSORIES - The natural and secondary objects introduced into a picture with an artistic purpose.
ACCENT - Any emphasis of light or dark in a picture.
BREADTH - The result attained in presenting an aspect of nature in a large and simple manner.
BALANCE - The proper disposition of quantities in a composition. See Quantity.
BLOOM - The cloudiness which affects certain colors and varnishes, and which is the result of damp.
BUST - The head and shoulders, including the breasts.
COMPOSITION - The disposition and arrangement of whatever objects and effects of light and shade go to make up the picture.
CARTOON - Derived from the Italian word cartone, signifying a heavy paper or cardboard upon which painters frequently made their first drawings or compositions before transferring them to the canvas or wall for which they were ultimately intended. A preparatory drawing on paper.
AMATEUR - A lover of art. One also who practices art in an unprofessional way.
ALLEGORY - A painting possessed of a significance removed from the actual. Allegorical painting is somewhat literary in its character, an artistic interpretation of a parable, as it were.
ACCESSORIES - The natural and secondary objects introduced into a picture with an artistic purpose.
ACCENT - Any emphasis of light or dark in a picture.
BREADTH - The result attained in presenting an aspect of nature in a large and simple manner.
BALANCE - The proper disposition of quantities in a composition. See Quantity.
BLOOM - The cloudiness which affects certain colors and varnishes, and which is the result of damp.
BUST - The head and shoulders, including the breasts.
COMPOSITION - The disposition and arrangement of whatever objects and effects of light and shade go to make up the picture.
CARTOON - Derived from the Italian word cartone, signifying a heavy paper or cardboard upon which painters frequently made their first drawings or compositions before transferring them to the canvas or wall for which they were ultimately intended. A preparatory drawing on paper.
Saturday, October 8, 2011
In the shadows add raw umber and burnt sienna
In the shadows add raw umber and burnt sienna. The branches are rather gray than brown in their general aspect, and may be painted with raw umber, ivory black, white, cobalt, and light red; adding yellow ochre in the lighter tones if needed, and substituting burnt sienna for light red. Draw the stems and branches carefully, using flat pointed sable brushes for the small dark accents and touches of light.
Flowers are peculiarly applicable for decorative purposes, and arc also used in various conventionalized forms with excellent effect.
Instead of copying the designs of others, endeavor to compose them for yourself.
In doing this, always make the studies directly from Nature first, and then arrange and compose as you wish, keeping the original study as a guide, and making all compositions and designs upon a separate canvas. This is excellent practice, and should any special talent for designing be developed, it is well to encourage it, as original designs have a practical value.
Patience and persevering practice are the only means by which any thing real can be accomplished in Art. Our design has been, by practical hints and timely. suggestions, to lead the student in the right way, thus teaching him to study nature and observe for himself.
Flowers are peculiarly applicable for decorative purposes, and arc also used in various conventionalized forms with excellent effect.
Instead of copying the designs of others, endeavor to compose them for yourself.
In doing this, always make the studies directly from Nature first, and then arrange and compose as you wish, keeping the original study as a guide, and making all compositions and designs upon a separate canvas. This is excellent practice, and should any special talent for designing be developed, it is well to encourage it, as original designs have a practical value.
Patience and persevering practice are the only means by which any thing real can be accomplished in Art. Our design has been, by practical hints and timely. suggestions, to lead the student in the right way, thus teaching him to study nature and observe for himself.
Bright warm greens are made with Antwerp blue
For the different shades of green seen in the leaves of plants we can only give general directions, as the variety and subtlety of these tones can only be expressed by combining, in their proper proportions, certain colors.
It will of course be of service to those without experience to know what these colors are. Just how much of each is needed can only be learned by practice.
Bright warm greens are made with Antwerp blue, cadmium and white, qualified by ivory black and light red, or vermilion. The shadows are painted with the same colors, with the addition of raw umber, and substituting burnt sienna for light red.
Cool, bluish greens are made with permanent blue instead of Antwerp blue, and combined with the same colors given above, except that madder lake is used in place of vermilion or light red. A great deal of black is used with these greens, and very little cadmium. For very light warm yellow greens, use light zinober green, white with light cadmium, vermilion and ivory-black.
It will of course be of service to those without experience to know what these colors are. Just how much of each is needed can only be learned by practice.
Bright warm greens are made with Antwerp blue, cadmium and white, qualified by ivory black and light red, or vermilion. The shadows are painted with the same colors, with the addition of raw umber, and substituting burnt sienna for light red.
Cool, bluish greens are made with permanent blue instead of Antwerp blue, and combined with the same colors given above, except that madder lake is used in place of vermilion or light red. A great deal of black is used with these greens, and very little cadmium. For very light warm yellow greens, use light zinober green, white with light cadmium, vermilion and ivory-black.
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