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| Example of an image that has been transferred through pressure onto paper from a matrix. |
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| The surface upon which the design has been created. |
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| Multiple impressions, made on paper from the same matrix. |
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| 3/35 at bottom of a print means that this is a the third impression in an edition of 35. |
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| Any printmaking process in which the image to be printed is raised off the background in reverse. Such as common rubber stamps. |
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| A design is drawn on the surface of a wood block, and the parts that are to print white are cut or gouged away, usually with a knife. Great contrast between light and dark. |
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| "white line" technique in which the fine, narrow grooves cut into the block do not hold ink. |
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| Same as woodcut, except the block is made of linoleum instead of wood. |
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| The areas to be printed are below the surface of the plate. |
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| Pushing a small V-shaped metal rod, called a burin, across a metal plate, usually of copper or zinc, forcing the metal up in silvers in front of the line. |
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| More fluid and free process than engraving and is capable of capturing something of the same sense of immediacy as the sketch. |
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| Third form of intaglio printing; drypoint line is scratched into the copper plate with a metal point that is pulled across the surface, not pushed as in engraving. |
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| Another intaglio technique; a negative process. (Prince Rupert, 1933) |
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| Like mezzotint, relies for its effect not on line but on tonal areas of light and dark. Uses acid to penetrate which heats the material until it melts; creating a sandpaper type texture. |
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| The print surface is flat; there is no raised or depressed surface on the plate to hold ink; the method depends on the fact that grease and water don't mix. |
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| "Stone writing"; with a completely smooth surface. |
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| Screen printing is also a stencil method of print making in which a design is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. It is also known as serigraph. |
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| A kind of printmaking; unique image, once it is printed, it can never be printed again. |
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| Dry coloring matter, usually an insoluble powder, to be mixed with water, oil, or another base to produce paint and similar products. |
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| Holds the particles of pigment together. |
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| The surface on which the artist paints. |
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| A support is primed with paintlike material called ground; many grounds increase the brightness of the final picture. |
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| Made by combining pigment with a binder of hot wax. |
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| "Dry Fresco", Pigment mixed with limewater, and then applied to dry wall. |
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| If the paint is applied to a wet wall. |
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| A medium made by combining water, pigment, and some gummy material, usually egg yolk. |
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| Far more versatile medium than tempera. |
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| Potentially the most expressive of all the painting media. Made by applying pigments suspended in a solution of water and gum arabic to dampened paper. |
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| Watercolor mixed with Chinese white chalk. |
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| Materials used to make plastic, mixed with turpentine. |
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| a coloring matter, usually black or red, used to render part of a negative opaque. |
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| permitting light to pass through but diffusing it so that persons, objects, etc., on the opposite side are not clearly visible. |
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| where paint is laid on an area of the surface (or the entire canvas) very thickly, usually thickly enough that the brush or painting-knife strokes are visible. |
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| a layer of paint, thinned with a medium, so as to become somewhat transparent. |
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| The process of pasting or gluing fragmentts of printed matter, fabric, or other things onto the two-dimensional surface of a canvas or panel. |
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| An inclusive medium; rather than exclusive. |
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| A darkened room used by artists to copy nature accurately. |
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| A positive image on a polished metal plate. |
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| an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide. |
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| The process of arranging the sequences of film after it has been shot in its entirety. |
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| Editing techniques in which the editor cuts to narrative episodes that are supposed to have taken place before the start of the film. |
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| Editing technique meant to create high drama; moves back and forth between two separate events in ever-shorter sequences. |
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| Sequencing of widely disparate images to create a fast-paced, multifaceted image. |
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| Panels of rough sketches outlining the shot sequences. |
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