Painting Vocabulary .
A color mixing system in which combinations of different wavelengths of projected light create visual sensations of color. Additive color primaries are red, green and blueviolet; when they are combined, the result is white light (Theater)
Afterimage
occurs after staring at an area of intense color for a certain amount of time and then quickly glancing away toward a white surface where the complimentary color seems to appear
Analogous hues
hues that lie adjacent to each othe
Anomaly
an irregularity; a deviation from a norm. An anomalous color is one that breaks sharply with the dominant tonal quality established by a group of colors.
Archival quality
a designation for paper or inks of high permanence and durability. “Archival” is a nontechnical term used to denote materials that will last over a long periods of time with minimal deterioration because of chemical stability and physical durability
Binder
the vehicle in paint, such as acrylic resin (polymer), in which pigment is suspended
Bridge tones
tones, tints or shades that combine qualities of two distinctly different colors and act to soften those differences when placed near them in a composition. (AKA: color shifting
Broken color (broken value)
an effect when paint is applied lightly, with a dry-brush effect, over a dried layer of paint, allowing some of the underneath color (value) to show through. Typically achieved through scumbling
Canvas
canvas is a plain woven cloth of natural fibers (typically linen or cotton) usually stretched taut over a wooden frame called a stretcher and is typically primed with gesso prior to use. The word canvas can also refer to a painting on canvas.
Chiaroscuro
an Italian term for “light dark”, chiaroscuro is defined as a bold contrast between light and dark, highlight and shadows. In painting and drawing, it refers to the modeling of light on surfaces creating the illusion of a three-dimensional volumetric form or object
Chromatic grays
are subtle colors that result from considerably lowering the saturation level of prismatic colors. Chromatic grays weakly exhibit the distinguishing quality of the hue family to which they belong.
Cinnabar
sometimes called cinnabarite, is a red mercury sulfide or native vermillion used as pigment.
Collage
(n) collage, from the French word “coller”, meaning to stick, is a work of visual art made from the assemblage of different forms, thus creating a new whole. Collage can include any material, such as newspaper clippers, fabric, photos, drawings and found objects, which are glued to the surface or substrate.
Complimentary hues
hues that lie directly opposite each other on the color wheel. These color combinations create the strongest possible contrast of color, and when placed in close proximity, intensify the appearance of the other.
Composition
the art or practice of combining, placing or arranging the different elements of art (line, shape, color, value and texture) so as to produce a harmonious whole. Composition can also refer to a work of art considered as such
Cones
color sensitive cells in the retina.
Contrapposto (classical)
this Italian term describes a human figure standing in such a way that one part of the body twists away from the other with the weight of the figure balanced on one leg instead of two (see Michelangelo’s “David” (1504). This has the effect of giving the figure a relaxed appearance, while at the same time encompassing the tension created as a figure changes from a state of rest.
Cool colors
a color that appears to be closer to the blue-to-violet side of the color wheel
Co-primaries
the result of the sub-division of the (subtractive) primary triad into three pairs consisting of cool and warm versions of each hue. The use of co-primaries greatly extends the potential range of mixed colors
Craquelere
means literally “crackle”. It refers to the overall pattern of fine cracks on a painting’s surface resulting from age. Craquelere can be induced artificially
Dark transparency
an illusion of transparency where a color of the overlapping area is darker in value than both colors that appear to overlap. The hue in a dark transparency blends the hues of the two parent colors equally
Decalcomania
(similar to stamping) – a painting technique in which one surface (“the decal”) is painted and then pressed, while still wet, against the painting; when the decal is peeled away, some paint remains stuck to the painting in a pattern, often with unexpected qualities.
Diptych
an artwork on two surfaces hung together
Earth-tone primary triad
a primary triad of chromatic grays (so called because of their resemblance to pigments found in nature, e.g., ochre and umbers).
Emulsion
in painting, it is a suspension of small globules of one liquid in a second liquid with which the first will not mix or dissolve
Found object (Object Trouvi)
a natural or manufactures object that is “found” by the artist and displayed as art or combined with other elements in a work of art.
Fresco
the word “fresco” comes from the Italian “affresco” meaning fresh. Fresco painting can be done two ways. “Buon fresco” is done on wet plaster and “a secco” paintings are completed on dry plaster.
Gesso (1)
(1) “gesso” is the Italian term for chalk, and is a powdered form of the mineral calcium carbonate. Historically gesso was mixed with animal glue, usually rabbit-skin glue to use as an absorbent primer coat for panel painting with egg-tempera paints. The Italian terms “gesso sotille” refers to a thinner and finer mixture of chalk and rabbits skin glue. However historical gesso’s made from this mixture was very brittle and prone to cracking and could not be used on canvas.
FluorX Fluorescent Acrylic Paints by Wallace Seymour
A range of fluorescent acrylic colours have recently been added to the store.
‘FluorX’ Fluorescent Acrylic Colours are extra luminous ‘day-glo’ pigments, combined in a water-clear acrylic resin base. The paint paste is a soft gel, which can be modified by dilution with water or addition of acrylic painting medium to change sheen/surface/texture, etc.
The ten available shades are enhanced when exposed to UV light as opposed to daylight or synthetic lighting. To this end, some artists show their work made with fluorescent colours in an environment where only UV light is used. Exposure to UV light also re-charges the fluorescence of the colours.
When not shown, artwork is best kept in a closed portfolio, away from light. On re-exposure to light, the colours will show more fluorescence initially – but on prolonged exposure to daylight will become slightly duller in appearance.
Fluorescent colours will also appear more vivid when painted onto dark grounds. For best results, prime the support first with Acrylic Primer/Acrylic Gesso, followed by a layer of Black Acrylic Gesso, or Mars Black Acrylic Colour. Fluorescent colour is then applied over the dark ground to create maximum luminescence. In practice, multiple layers, will appear more radiant than just one coating.
Avoid intermixing the different shades of FluorX Acrylic Colour – the colours work best when applied alone, or laid over dried paint to create optical mixtures. Avoid mixing with other acrylic colours, as the fluorescent colour will be eliminated by the standard acrylic colour. This is especially the case with whites.
Under UV light, FluorX White shows as a blue-violet colour. Under daylight, it appears as a radiant white.
FluorX Acrylic Colour can be applied to all normal painting supports – paper, canvas, panel, etc.
Some papers can cause a slight reaction, usually when acids from glue/sizing compunds migrate into the wet fluorescent paint. In essence, fluorescent colours are actually dyes, which are formulated to behave like pigments – and as such are more prone to change than normal pigments.
Avoid prolonged exposure to daylight/artificial light, as the colour can fade to some extent.
Clean-up is with water, for palettes, brushes, hands, etc.
