Art 101 Chapters 9-11
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61 terms
Terms | Definitions |
|---|---|
 Binders | in a medium, the substance that holds pigments together |
| Cartoon | a drawing done to scale for a painting or fresco |
| Conté Crayon | a soft drawing tool make by adding clay to graphite |
| Delineation | the descriptive representation of an object by means of outline or contour drawing |
| Medium | any material used to create a work of art. Plural form, media. OR in painting, a liquid added to paint that makes it easier to manipulate. |
| Metalpoint | a drawing techniques, popular in the fifteenth and sixteenth centuries, in which a stylus with a point of gold, silver, or some other metal was applied to a sheet of paper treated with a mixture of powdered bones and gumwater |
| Pastel | a soft crayon made of chalk and pigment OR any work done in this medium OR a pale light color |
| Pencil | a drawing tool made of graphite encased in a soft wood cylinder |
| Pigment | the coloring agents of a medium |
| Sinopie | tracings of the outlines of composition |
| Technologies | "to make, prepare, or fabricate" in art any medium is a techne, a means of making art |
| Alum | substance that reduces the absorbency of the paper so that ink will not run along its fibers, used in Sizing |
| Aquatint | an intaglio printmaking process in which the acid bites around powdered parrticles of resin, resulting in a print with a granular appearance |
| Burin | a meal tool with a V-shaped point used in engraving |
| Burr | in drypoint printing, the ridge of metal that is pushed up by the engraving tool as it is pulled across the surface of the plate and that results, when inked, in the rich, velvety texture of the drypoint print |
| Drypoint | an intaglio printmaking process in which the copper or zinc plate is incised by a needle pulled back across the surface, leaving a burr |
| Edition | in printmaking, the number of impression authorized by the artist made from a single master image |
| Engraving | an intaglio printmaking process in which a sharp tool called a burin is used to incise the plate |
| Etching | an intaglio printmaking process in which a metal plate coated with wax is drawn upon with a sharp ool down to the plate and then placed in an acid bath. The acid eats into the plate where the lines have been drawn, the wax is removed, and then the plate is inked and printed |
| Ground | a coating applied to a canvas or printmaking plate to prepare it for painting or etching |
| Impression | in printmaking, a single example of an edition |
| Intaglio | any form of printmaking in which the line is incised into the surface of the printing plate, including aquatint, drypoint, etching, engraving, and mezzotint |
| Linocut | a form of relief printmaking, similar to woodcut, in which a block of linoleum is carved so as to leave the image to be printed raised above the surface of the block |
| Lithography | "stone writing" a polished stone is drawn upon with a greasy material, surface is moistened and then inked, the ink adheres only to the greasy lines of drawing, the design is transferred to dampened paper, usually in a printing press |
| Matrix | in printmaking, the master image |
| Mezzotint | an intaglio printmaking process in which the plate is ground all over with a rocker leaving a burr raised on the surface that if inked would be right black, the surface is greased by scraping away the burr |
| Monotype | printmaking process in which only one impression results |
| Original Print | a print created by the artist alone and that has been printed by the artist or under the artist's direct supervision |
| Planographic Print Making Process | any printmaking process in which the print is pulled from a flat, planar surface |
| Print | any one of the multiple impressions made from a master image |
| Proofs | a trail impression of a print, made before the final edition is run |
| Registration | in printmaking, the precise alignment of impressions made by two or more blocks or plates on the same sheet of paper, used particularly when printing two or more colors |
| Relief | any sculpture in which images and forms are attached to a background and project to show it off OR in printmaking, any process in which any area of the plate not to be printed is carved away |
| Rocker | a sharp, curved tool used in mezzotint printmaking process |
| Silk-screening | also known as Serigraphs, and image is transferred to paper by forcing ink through a mesh |
| Sizing | brushing a surface with an astringent crystalline substance called alum |
| States | different stages in the process of printmaking |
| Stippling | in drawing and printmaking, a pattern of closely placed dots or small marks employed to create the effect of shading or modeling |
| Stopping Out | in etching, the application of varnish or ground over the etched surface in order to prevent further etchings as the remainder of the surface is submerged in the acid bath |
| Tusche | a greasy material used for drawing on a lithography stone |
| Wood Engraving | actually a relief printmaking technique, fine lines are carved into a block resulting in a print consisting of white lines of a black background |
| Acrylic | a plastic resin that when mixed with water and pigment forms an inorganic and quick-drying medium |
| Binder | suspends pigment or powdered colors and holds the particles of pigment together and also protects the pigment form changes and serves as an adhesive, also called medium |
| Collage | process of pasting or gluing fragments of printed matter, fabric, natural material (anything that is flat) onto the two-dimensional surface of a canvas or panel |
| Combine-Painting | Robet Rauschenberg's name for his works, high-relief collage |
| Connotation | the meaning associated with or implied by an image |
| Denotation | the direct or literal meaning of an image |
| Didacticism | an approach to making art emphasizing its ability to teach and, particularly elevate the mind |
| Encaustic | a method of painting with molten beeswax fused to the support after application by means of heat |
| Fresco | painting on plaster: dry fresco (fresco secco) is when the paint is an independent layer, wet fresco (buon fresco) is then the paint is chemically bound to the plaster |
| Gesso | most common ground made form glue and plaster of Paris, fully absorbent and extremely durable |
| Giornate | "day's work" |
| Gouache | painting medium similar to water color, but opaque |
| Ground | a coating applied to a canvas or printmaking plate to prepare it for painting or etching |
| Medium | any material used to create a work of art. Plural form, media. OR in painting, a liquid added to paint that makes it easier to manipulate. |
| Mixed Media | the combination of two or more media in a single work |
| Oil Paint | a medium wing linseed oil as a binder that became particularly popular beginning in the fifteenth century |
| Solvent | a thinner that enables paint to flow more readily and that also cleans brushes, also called vehicle |
| Support | the surface on which the artist works (wall, panel of wood, canvas, or paper) |
| Tempera | a painting medium made by combining water, pigment, and usually egg yolk |
| Watercolor | a painting medium consisting of pigments suspended in a solution of water and gum arabic |
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