Description
part one
Project or Paper
Instructions:
Students will have a choice to write a final paper or create their own work of art (project) and connect it to class content and themes. Possible themes/content include but are not limited to philosophy, religious thought, creative arts, literature, politics, history, poetry, drama, theatre, architecture, music, etc. Students can choose to write a 6–7-page final paper that analyzes and connects any humanities-based theme from our course or create a project representative of the humanities alongside a 2-3 page final paper.
For the Project and accompanying paper: Showcase how the Humanities applies to your everyday life by creating a piece of artwork. In your accompanying paper, be critical of yourself, and identify/apply key themes and characteristics learned from our course that are applied in your artwork. Remember, there are many different types of art. You can choose the medium! Write a 2-3-page paper using 2 or more sources. 1 outside source and 1 source from our class. Papers must be at least 2 total pages long and follow standard MLA formatting (typed, double-spaced, 12 pt. Times New Roman font, 1-inch margins). Please cite (using MLA) all of the required sources and have a Works Cited page.
For Paper only: Showcase how the Humanities applies to everyday life. Choose a work of art and interpret what the artist is trying to convey in terms of human life/living. Be critical, and identify/apply key themes and characteristics learned from our course. Draw connections with your personal life. Write a 6-7-page paper using 2 or more sources. 1 outside source and 1 source from our class. Papers must be at least 6 total pages long and follow standard MLA formatting (typed, double-spaced, 12 pt. Times New Roman font, 1-inch margins). Please cite (using MLA) all of the required sources and have a Works Cited page.
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.part two
Students will create a 1 page-long typed response to one of three review prompts. Responses must be in MLA format.
Purpose:
Explore in writing what you have read/watched and what we have presented in the modules.
Instructions:
Reply to only 1 of 3 topics/questions located below.
Students are to submit their assignment by Jan 14th, 11:59 pm using the submission link on this page.
Use citations and supporting evidence from texts/videos found in Modules Week 1-2.
Restate the chosen topic/question in the first few sentences of your response.
Topic/Questions:
Compare and contrast beauty and aesthetics. Use examples when possible.
Choose two different works that were interesting to you, including Pollock’s work and Marvell’s work. What characteristics of these works entice you? What can you tell about the author’s/artist’s identity? Do the works’ characteristics represent anything of your own identity?
Use any of the humanities-based texts to support the argument that graffiti is art. Or use any of the humanities-based texts to support the argument that graffiti is vandalism
Unformatted Attachment Preview
Close Reading
Close reading is a method of literary analysis which focuses on the specific details of a passage or text
in order to discern some deeper meaning present in it. The meaning derived from the close reading is
the reader’s interpretation of the passage or text.
Tip:
There is no such thing as the one “true” meaning behind a text, so any
interpretation which can be supported by the text’s specific details is valid.
Don’t worry about arguing for the “correct” interpretation of a text or passage
and don’t be afraid to be creative in your analysis.
Close reading tends to rely on the principle that no details are present in a text by “accident.” The
author’s conscious intentions in writing are often insignificant, as unconscious layers of meaning or
even prejudices may be sublimated into literary works. Regardless of whether an author consciously or
unconsciously constructs a particular meaning in a text, if details are present which support that
interpretation, it is valid.
How to Begin a Close Reading
A close reading should never be your first reading of a text. Before focusing on the details of a text
or passage, it is important to have an understanding of the text as a whole.
Read the text!
Make sure that you understand its plot, who the characters are, etc. For more difficult texts, it
may take more than one read to do this. That is normal. The better your overall understanding
of the text, the easier it will be to focus on its details and/or the details of your chosen passage.
When you are ready to begin your close reading, take your time!
Read the text actively. Take notes. You may write on a separate sheet of paper, directly in your
book, or you may even choose to make a photocopy of the text or passage and take notes on
that. Choose the method which works best for you.
Do not be afraid to pause to think over what you read as you read!
Do not hesitate to read and re-read sentences or sections several times before moving on. Take
note not only of the details in the text, but also of the impressions which those details create in
you as a reader. The purpose of a close reading is to squeeze the details from your chosen text
and use those details to formulate an interpretation of a deeper meaning or impression present
in the text.
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Some Details to Consider When Reading Closely
Titles Matter!
Always take a moment to consider the title of your chosen text and its relationship to the content. The
author has chosen the title carefully to represent the text as a whole. Often, titles may point to important
symbols or images which you might then focus on more closely in your reading.
Example:
In Nathaniel Hawthorne’s short story “The Birthmark” or Charlotte Perkins
Gilman’s short story “The Yellow Wallpaper,” the titles refer to prominent symbols
in the texts. Paying close attention to these symbols, how they are described,
and how they are treated in the texts would be fertile ground for a close reading.
Other titles may help to structure the reader’s understanding of the text’s content.
Example:
Jamaica Kincaid’s short story “Girl” is a list of commands and instructions. The
text does not clearly state who these commands are directed towards, but the
title hints that they are commands for a specific girl, or perhaps girls in general.
Audience and Purpose
Who is the intended audience of the text or passage? What is its purpose? Audience and purpose may
help to contextualize some of the text’s details.
Example:
In Jonathan Swift’s essay “A Modest Proposal,” he proposes that impoverished
Irish communities eat their children in order to limit their financial burdens and
gain a source of food.
Understanding Swift’s purpose, to use an absurd and morally reprehensible
argument to draw attention to the plights of these communities as well as to
criticize the faulty and rather callous logic employed by many English intellectuals
in discussing these issues, helps readers to understand his methods and the
significance of the way he lays out his hyper-rational and fairly horrifying
argument.
Narrative Point of View
The narrator is the voice through which the reader experiences the text. That means that all of the
information a reader receives is colored by the narrator’s perspective. Dissecting this perspective may
help to inform your understanding of how the text relates its information and how that dynamic
influences or constructs meaning within the text.
Is the text or passage narrated in 1st, 2nd, or 3rd person? Is the narrator omniscient (does he or she
know all of the characters’ thoughts and actions)? Is the narrator’s perspective limited to one
character’s experiences and thoughts? Is the narrator an impartial observer, a fly on the wall who
simply relates the events of the text or passage without giving insight into characters’ thoughts and
feelings?
Does the narrator seem to make any judgments regarding the characters or events of the text? Is the
narrator completely reliable? If the narrator may be biased, how does that influence the text? What
biases might the narrator possess? Is he or she possibly insane, lying, or mistaken?
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Example:
Jamaica Kincaid’s short story “Girl” is narrated in 2nd person. This means that the
narrator seems to directly address the reader in his or her stream of commands
and instructions.
The reader may feel overwhelmed, defensive, or resentful of the narrator as a
result of the narrative point of view. Those feelings may mirror the feelings of a
girl who is being lectured regarding “proper” or “acceptable” behavior. Therefore,
the narration puts the reader in the position of the “Girl.”
What is the relationship between the narrator and the “Girl”/reader? How might
that be significant?
Imagery and Symbols
Often, a work of literature will emphasize a particular image. Images appeal to our senses, so a text
may include visual images, auditory images, images which involve smell, images which involve taste,
and images which involve touch.
What images do you find in the text or passage? Are there any images which appear to be emphasized
more than others? Why? How does that affect the meaning of the text or passage?
Some images may function as symbols in the text: images which have metaphorical meanings beyond
their literal meanings. Are there any symbols present in the text? What metaphorical meanings might
those symbols carry? If we accept those meanings, how does that influence our reading of the text?
Example:
In Nathaniel Hawthorne’s short story “The Birthmark,” Georgiana, the
protagonist’s wife, has a birthmark on her face in the shape of a small hand. Her
husband sees this as an imperfection, which he then seeks to correct by
removing it. Georgiana dies during this process.
One way to interpret Georgiana’s birthmark is as a symbol of natural human
imperfection. If we accept this symbolic meaning, then how do we read
Georgiana’s death? Does the text seem to be commenting on the whether or not
human perfection is attainable?
Characterization
Who are the characters? Is there one protagonist (main character), in the text? Is there an antagonist (a
character or force which opposes the protagonist)? If so, how does the conflict influence the text?
Which characters are focused on and which characters are treated as secondary? How do we learn
about the characters? Does the narrator tell us about them explicitly through description? This is called
direct characterization. Do we learn about the characters through their actions and dialogue? This is
called indirect characterization. How does the characterization influence the meaning of the text or
passage?
Example:
If you were to read a short story which characterized male characters primarily
through their actions, but female characters through descriptions given by a male
narrator, this might be evidence of gender bias in the text.
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Chronology
How is time treated in the text? Is it linear, a-linear? What span of time does it cover? Does it focus on
a period of minutes, hours, days, years? How do the choices about representing time influence or
construct meaning in the text?
Example:
Toni Morrison’s short story “Recitatif” chooses to focus on short spans of time
spread across several decades in the lives of its two main characters.
What might the significance be of choosing those particular moments in the
characters’ lives to show to the reader? What do those moments have in
common? Why skip so much time in between passages? What effect does the
chronology of the text have on the reader’s experience of the narrative and the
characters?
Form
The literal form of a text can influence the reader’s experience of it. Some details related to form might
include line and paragraph breaks, the physical position of the text on the page, the font style, or even
something as simple as spacing.
Example:
In concrete poetry, the words which make up the poem are manipulated to create
visual images on the page. George Herbert’s poem “Easter Wings” is physically
shaped like a pair of wings.
The overall form of the text is important, but so are breaks in form.
Example:
Certain portions of Jamaica Kincaid’s short story “Girl” are italicized.
Why are these portions emphasized and separated from the rest of the text?
How does that affect the passage?
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Sentence Level: Diction (connotations), Syntax, and Punctuation
“Diction” refers to word choice. What types of words are used in the text or passage? Are the words
formal or informal, simple or complex, monosyllabic (short) or polysyllabic (long)? What do the words
physically sound like? Do the words carry any other connotations beyond their literal meanings which
may be relevant to your reading of the text?
Tip:
Dictionaries such as the Oxford English Dictionary (OED) are useful resources in
determining a particular word’s history and connotations.
What do the sentences themselves look like? Are they simple or complex, long or short? Hemingway is
often praised for his simple, short sentences. How does the sentence structure influence your reading
of the text? What kinds of punctuation does the writer use?
Example:
“Girl” happens to be a single, long sentence with many independent clauses
separated by semicolons.
What might the significance be of that choice? One interpretation is that reading
the sentence becomes overwhelming, which may mimic the feelings of a girl
being lectured about “proper” and “acceptable” behavior. Therefore, the sentence
structure helps the reader to sympathize with the title “character” of the short
story.
Patterns
What patterns are present in the text? Consider the significance of the pattern itself.
Example:
In Theodore Roethke’s poem “My Papa’s Waltz,” the meter of the poem is
trimeter. This means that there are three beats in each line.
How might that pattern be significant to the text? Interestingly, a waltz is a dance
which follows a 1-2-3 pattern. Therefore, the pattern established by the meter
seems to mimic the dance which is mentioned in the poem’s title. This has the
effect of emphasizing the “waltzing” of the boy and his father in the poem. How is
that important to the poem’s overall meaning?
Is the pattern established in the text ever interrupted? Interruptions or breaks in firmly established
textual patterns are usually particularly significant. Remember that the author has gone to a lot of
trouble to establish this pattern in the text. If he or she is choosing to disrupt it, there is probably a very
good reason.
Example:
In “My Papa’s Waltz,” there are occasional breaks in the meter.
Why is this significant? If the “waltz” of the poem is imperfect, does it suggest
something about the boy, his father, and/or their relationship?
Contradictions/Inconsistencies
Like breaks in patterns, inconsistencies or contradictions in the text are also particularly worthy of
attention. What inconsistencies or contradictions can you identify? What are the sources of these
contradictions?
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Is there an unreliable narrator? What is unreliable about this person? Are different characters’
perspectives the source of the contradiction? What is the effect or utility of reinforcing the differing
perspectives of these characters? Does the text seem to be purposely confusing or contradictory?
What might the significance of that be?
Example:
In “Recitatif,” Twyla and Roberta, the short story’s co-protagonists, remember
some of the events of their shared childhood differently.
What is the overall significance of this inconsistency in their memories? Is Toni
Morrison attempting to make a comment about memory itself? Is she trying to
call attention to the differences in the characters’ perspectives? Why might that
be important?
Allusions
Allusions are references to knowledge or events outside of the text itself, often other literary works, but
sometimes current events or politics. Are there any allusions present in the text or passage? To what
do they refer?
If the text establishes a connection to another text through an allusion, then how does a reading of the
second text influence your understanding of the first text? In western literature, direct allusions to
biblical stories can be common. However, some allusions are very subtle and even unexpected.
Example:
Disney’s The Lion King features a young prince whose father is killed by his
uncle, the king’s own brother. When the prince grows up, he must then make a
decision about whether or not to challenge his uncle for the throne.
The plot of The Lion King can be read as a subtle reference to Shakespeare’s
play Hamlet, whose plot follows a similar pattern. In this particular example,
examining the similarities between the two stories as well as the differences and
deliberate changes which Disney has made to the Hamlet tale would be valuable
to your critical understanding of the film.
It may also be helpful to consider the significance of a modern children’s film
borrowing plot from an early modern Shakespearean play, since the two do not
appear to have similar audiences or contexts at first glance.
Research Anything Unfamiliar!
A quick online search (or inquiry to your tutor or professor!) for anything unfamiliar in the text or
passage can point you to allusions or other connections which you would not have made.
Example:
In reading the poem “My Papa’s Waltz,” you may not have known that a waltz is
a three beat dance. However, by doing a small bit of research on “waltz,” one of
the key words in the poem’s title, you might find this information. Then, you might
realize the connection between the dance and the meter of the poem itself.
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Some Tips for Writing Essays Using Close Reading
Like all literary analysis, close reading should produce interpretations of the text which are
debatable rather than factual. This is the difference between an interpretive claim and a claim
which simply relates a detail of the text. For an essay which uses close reading, the
interpretation of the text will usually be stated in the essay’s thesis.
Example:
Pointing out that Twyla and Roberta, the co-protagonists of Toni
Morrison’s short story “Recitatif” are described as being of different racial
backgrounds, one African American and one Caucasian, but that the text
never specifies which character is of which racial background, is an
example of a factual claim pointing out certain specific details of the text.
An interpretive claim which would be supported by those details is that
“Recitatif” challenges the racialized assumptions of its readers by tricking
them into attempting to figure out which character is of which racial
background and by giving them only stereotypes as evidence to support
their deductions.
The latter claim, since it is debatable rather than factual, would be a
stronger, interpretive thesis statement for an essay.
Because close reading focuses on the details of the text or passage and how they work together
to create meaning, it is especially important to support all claims about the text with specific
examples from the text in the form of quotation or cited paraphrase. Quotations are preferable
whenever possible because of their specificity. Close reading essays which are effective should
contain a large proportion of quotations. However, it is also important to remember to connect
all of those details to your central thesis.
Example:
If you are writing an essay about “Recitatif” using the aforementioned
thesis, you may choose to quote the blocks of text which describe the
characters.
It is important not only to quote these passages, but also to explain how
they fail to provide specific details regarding the characters’ racial
identities, how the text tempts readers to make certain assumptions about
the characters’ racial identities with some details, and how it tempts the
reader to make opposite assumptions in other sections of the text. Then,
you would tie this analysis back to your thesis statement by explaining
how specifically tempting the reader with contradictory assumptions about
the characters’ racial identities might serve to challenge the reader’s own
racialized assumptions.
In writing your essay, once you have formed a preliminary thesis statement, it is not necessary
to dissect every single specific detail of your chosen text or passage in your writing. Focus only
on those details whose analysis will best support your thesis. Some essays will include
discussions of a variety of textual details, while others may focus on only a few. Some details
may not be relevant to your argument. Those details are not necessary to include and may
actually detract from your writing.
Example:
In an analysis of Ernest Hemingway’s short story “Hills Like White
Elephants” which focuses on the symbolism of the hills themselves, the
physical form of the text on the page is likely irrelevant.
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Introduc on to Pain ng:
A Handbook for Student Painters
Cory Sellers MFA
This work is licensed
under A ribu on-NonCommercial-ShareAlike 4.0 Interna onal. To
view a copy of this license, visit
h p://crea vecommons.org/licenses/by-nc-sa/4.0/
#…………………………………………………………………………………
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“If in your drawings you habitually disregard propor ons, you
become accustomed to the sight of distor on and lose cri cal
ability. A person living in squalor eventually gets used to it.”
– Robert Henri, The Art Spirit
“Pain ng is easy when you don’t know how, but very difficult when
you do.”
– Edgar Degas
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Table of Contents
1. Pain ng Processes & Techniques ……………………………………………………… 4
a. Oils – Tradi onal and Water-Soluble
a2. Lean to Fat & Alla Prima
b. Acrylic
c. Watercolor
d. Gouache
e. Fresco
f. Tempera (Egg Tempera)
g. Encaus c
2. Pain ng Terms ………………………………………………………………………………… 8
a. Pain ng terms to be familiar with
b. Basic design vocabulary
3. Pain ng surfaces and supports ………………………………………………………. 13
a. Surfaces, (canvas, linen, panel)
b. Stretcher bars and stretching
c. Prepping
4. Pigments – Color and Transparencies ……………………………………………. 16
5. Pale es …………………………………………………………………………………………. 19
Historical & Limited
6. Brush Chart and Other Tools …………………………………………………………. 21
a. Brushes
b. Knives
7. Recommended Reading ………………………………………………………………… 24
8. Supply List …………………………………………………………………………………….. 25
9. Tips, Reminders & Takeaways ……………………………………………………….. 26
10. Value Scale ………………………………………………………………………………….. 29
**Student Notes** ……………………………………………………………………………. 31
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1. Pain ng Processes & Techniques
a. Oils – Tradi onal and Water Soluble
Tradi onal oil paint is a Non-aqueous paint, meaning turpen ne or
mineral spirits are used as a diluent, and not water. You cannot clean your
materials with water and soap. Pigments are suspended in oil, usually linseed or
other plant-based oils. They tend to have a slow-drying me, but this can be
sped up by using different mediums.
Some of the first oil paints were used as early as the 12th century in
Northern Europe. Ar sts were able to bring pain ng out of the dark ages
through its use. Painters could paint with more detail which reached a new
level of realism. Colors seemed more rich and vivid. New techniques were also
used such as glazing, which is the use of layering thin translucent paints on top
of one another to build up depth and modify colors in a pain ng le ng the
layer underneath show its brushstrokes.
A versa le quality of oil paints are the mediums and solvents that can be
used in mixing. Changing the dry me, painters can use this to their advantage
for their prac ce. Color can be easily blended with a slower dry me, and more
details can be added quickly in different layers with a faster dry me.
The permanency of most oil pain ngs, when prepared properly, have a
long archival life. Usually, when varnished, the varnish is what yellows, which
can be cleaned, removed, re-applied, and restored. Keep in mind; each paint
pigment has a permanence quality.
Water Soluble oil paints are a fairly new medium. Their development
started in the late 1980’s and early 90’s and have come a long way. The main
thing to think about is on a molecular level; these regular oil paints have been
modified to let water penetrate the paint to be thinned and cleaned. This
means although they are s ll oils, they are considered an aqueous paint where
water is the diluent.
One does not need harmful or toxic solvents to paint with water soluble
oils. This means no more turpen ne. Water acts as a turpen ne in the pain ng
process. This is a lot safer for home studios and schools. Depending on the
brand of the paint, there are a lot of mediums created just like tradi onal oils to
help control the paint. The glazing process is also s ll possible.
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a2. Lean to Fat & Alla Prima
Lean to Fat is an expression used in oil pain ng for the proper applica on
of the medium. Painters start with a lean or thinned layer of paint. The lean,
thin bo om layers are to dry before the next. This will reduce cracking and
increase the life of the pain ng. The grisaille or underpain ng (drawing) is
usually more common with the first layers blocking in light and dark areas of
the pain ng. As the pain ng process progresses, less solvent or thinner is used
and more medium is added making the next layers more fat. The thick
applica on of paint can be referred to as an impasto technique which can also
have benefits in alla prima pain ng (one shot or wet into wet). Once an area is
completely dry, any glazing may take place if desired. Glazing is a process of
applying thin layers of Transparent or Semi-Transparent paint allowing the
original brushstrokes to show through. This can change the temperature or
mood of an area or the en re pain ng. One can also show an incredible
amount of depth this way.
Alla prima is an Italian term meaning “at first a empt,” referring to the
pain ng technique pain ng “wet into wet,” not le ng the first layers dry. A lot
of mixing can take place on the surface of the pain ng in this direct approach.
While pain ng all prima, it is good to keep in mind the advantages of pain ng
opaque paints on top of transparent to reduce muddiness. Pain ng light into
dark can give one more of a crisp hard edge as dark into light can produce a
so er edge. The all prima technique is a great way for a painter to loosen up
and be more painterly. More mes than not, students come in in midated by
oil paint. They tend to be mid and end up being too ght allowing for
discouraging mistakes. A student painter as well as an established painter can
use this technique to build confidence in applying paint and paint faster which
can help in the drawing of the pain ng. Try an exercise by doing this with two to
three simple objects and shoot for a 30-40-minute me restraint. You may love
it; you may throw it out. The principle is the prac ce. Just have fun it.
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b. Acrylic Paints
Acrylic paints are a rela vely new medium compared to oil paints. They
are synthe cally made from plas c resins which tend to be fast drying. Acrylics
were being developed in the 1920’s and 1930’s and were commercially
available during the 50’s as interior wall paint. Many reputable ar sts of the
40’s and 50’s turned to acrylics for the versa lity and the capabili es of hard
edge pain ng made easier. Acrylic paints are an aqueous paint meaning water
is the diluent. This made clean up easy with soap and water and is not toxic like
tradi onal oil paint. There are a number of mediums that can be mixed with
acrylics to try to get them to act like oils. Even certain brands such as “Golden,”
carry a line of acrylic paints called their “Open” series that slow down the
drying process.
c. Watercolor Paints
Watercolor pain ng can be dated back to cave pain ng where natural
pigments were used to mix with water. In more modern-day watercolor
pigments are mixed with water and gum Arabic and have a transparent or
translucent quality. They became popular in Western pain ng in the late 18th
century with the Roman c landscape painters. Gum Arabic is a natural gum
consis ng of hardened sap. This helps in the drying process and makes it a bit
more archival.
d. Gouache Paints
Gouache paints became popular during the 18th century in France.
Gouache paints are very similar to watercolors, but they have a white or chalky
pigment added to make them opaque and less transparent. Gouache is usually
a li le more commercial and used in illustra ve mediums or pla orms. It dries
with a very ma e sheen.
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e. Fresco Pain ng
Fresco pain ng became a well know process during the 13th century and
perfected during the Renaissance, and mostly used for mural size works. Here,
pigments are mixed with lime water and painted directly onto a freshly laid
layer of damp plaster. The paints are then dried into the wall becoming one
with the wall. Fresco painters must work fast depending on the air temperature
and the humidity. Working in the mural size painters would o en use a
preliminary drawing called a cartoon with holes punched in the line work. They
would then use a sort of pigment to push through the holes. This process is
called pouncing. The cartoon is removed, and the drawing is somewhat
transferred to the wall in the desired scale.
f. Tempera Pain ng (Egg Tempera)
Tempera pain ng is the technique used by painters from the Gothic era
to the Early Renaissance. Tempera, or egg tempera, is a water-based medium
mixed with egg yolk to act as a binder. It is a very fast drying medium, with a
ma e finish and was the choice of medium for many ar sts un l fresco pain ng
and oil paints became popular.
g. Encaus c Pain ng
Encaus c meaning, “to burn in, or fuse.” Encaus c pain ng uses
pigments mixed with a hot, melted wax and when dries, has a very ma e finish.
The encaus c technique can be dated back to the Greeks in the 5th century.
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2. Pain ng Terms
a. Pain ng Terms to be familiar with
Alla Prima
To paint a picture in one si ng (wet into wet), par cularly in oil-pain ng. It is the
wisest method where impasto is to be used. The pain ngs o en have a freshness of
color, not always a ained by more precisely planned methods.
Binder
The ingredient of a paint vehicle, its purpose being to hold the pigment par cles
together. It can also describe the gum that holds pastels, watercolor and inks. Etc.
Linseed oil in oil paint.
Blending
A term concerned mostly with oils, acrylics, or alkyds. It implies the so ening of hard
edges between colors.
Cabinet pictures
An older name for smaller easel pain ngs.
Canvas tooth
The ‘tooth’ of the canvas describes the coarseness of the weave on the canvas
surface.
Chiaroscuro
The contras ng use of light and shadow. Ar sts famous for their mastery of
chiaroscuro include Caravaggio, Rembrandt, and other Baroque ar sts.
Co on duck
A name for the type of tex le used, the ‘duck’ comes from Dutch doek, which means
cloth.
Diluent
Any liquid that will dilute or thin a substance, as opposed to dissolving it. Etc. paint
thinner, turpen ne, or water.
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Fat paint
Paint that is loaded with a lot of medium such as linseed oil.
Gesso
Tradi onal oil gesso is a mixture of glue (usually rabbit skin) water, and chalk (calcium
carbonate) used to create a flexible, yet absorbent surface for the oil paint to be
applied onto. Contemporary acrylic gesso has a sizing agent ingredient.
Genre-Pain ng
Pain ng that depicts scenes of ordinary or everyday life.
Glaze
The term used for a thin, transparent layer of paint. Glazes are used on top of one
another to build up depth and modify colors in a pain ng le ng the layer underneath
show its brushstrokes. A glaze must be completely dry before another is applied on
top.
Grisaille
A type of monochrome pain ng laying out the groundwork for a planned-out
pain ng. Also known as the drawing or underpain ng.
Impasto technique
The use of paint applied in a thick manner.
Intensity
The degree of purity or brilliance of a color. Also known as chroma or satura on.
Lean paint
A paint layer or paint that has a reduced oil (fat) content. Usually more solvent is
being used to thin the paint.
Lean to Fat
Means that each succeeding layer of paint should have more ‘fat – oil’ than the
preceding layer. If you are pain ng in an indirect method (working in
layers rather than all in one go – alla prima) you need to adhere to this rule to prevent
cracking.
Mahl
A long wooden rod that is used by the painter to steady his hand when working on
fine details.
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Medium
The method in which an ar st works; oil-pain ng, gouache, pastel, pen and ink,
etching, collage, sculpture. In another sense medium may be used to describe an
addi ve to the colors when pain ng, linseed to oil-paints, egg yolk to tempera, gum
to watercolor.
Mixed media
One or more medium used in the same picture. Pastel and ink, pastel and watercolor,
tempera, and watercolor, etc.
Modern pain ng
A term, which tradi onally refers to works created a er about 1860.
Opaque
A pigment that does not allow light through, as opposed to “Transparent” which lets
light through.
Pale e
An instrument used to carry or mix media. Also, a term used to define a certain use of
color.
Pigment
This describes the raw material that all paints are made from. Natural or synthe c
materials are finely ground and mixed with a liquid binder into a paste to make paint.
The binder can some mes be called a ‘vehicle’.
Permanence
How permanent the paint will be over me, for example, Permanent Alizarin Crimson
is more resilient to changes in atmosphere, exposure to light etc, than standard
Alizarin crimson.
Plein air
French for “Open air,” pain ng in the landscape and out of the studio.
Representa onal
Results are closer to the actual subject ma er. They can range from Photo-realis c to
less realis c resul ng Impressionis c.
Non-Representa onal
A form of abstract pain ng which contains no references or associa ons from the
natural world.
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Sfumato
Italian word for smoked. It is a method for gradua on of tone and color and leaves a
so hazy effect. Leonardo used this to show depth and distance with the Mona Lisa.
Stretcher or Stretcher bars
The wooden frame that is used to stretch canvas when preparing it for pain ng. The
four corners are mitered so wedges can be driven into them to increase the tension
on the canvas.
Support
The surface on which the ar st works. Can be wood, canvas, paper, wall, glass, etc.
Transparent
A pigment that allows light through. Opposite of opaque.
Trompe l’oeil
To trick the eye. Illusionis c pain ng that deceives the eye.
Underpain ng
A term some mes interchanged with the grisaille of a pain ng. The ini al stage or
first layer of an oil pain ng commonly executed using a monochrome or dead color as
a base for the composi on.
Varnishes
A final layer of protectant that usually deepens saturated colors. Can be made from a
mix of linseed oil and damar varnish.
b. Basic design vocabulary
ELEMENTS OF ART: The visual components of form, line, shape, space, texture, value,
and color.
Line Lines possess quali es of direc on, division, thickness, and pa erns of
movement. Can be dis nguished among direc onal, outline, contour, and implied
line. Geometric lines can be fast, and organic lines can be slow. (Keep in mind, it can
be argued that lines don’t exist in pain ng, and only form against form exist.)
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Shape An element of art that is two-dimensional, flat, or limited to height and width.
Geometric or Organic.
Form An element of art that is three-dimensional and encloses volume; includes
height, width, AND depth (as in a cube, a sphere, a pyramid, or a cylinder). Form may
also be free flowing or s ll, as well as geometric or organic.
Value The lightness or darkness of tones or colors. White is the lightest or has the
least value; black is the darke
