Any coloring agent (made from natural or artificial substances) used with a binder to make paints.
The rough edges of watercolor and drawing papers.
The pure state of any color or a pure pigment that has not had white or black added to it.
A watercolor painting technique using white and opaque colors.
A painting in which the subject matter is natural scenery.
The selection of colors the artist chooses to work with; or, the board on which a painter mixes their colors.
Two hues directly opposite each other on a color wheel.
A two-dimensional presentation that is so naturalistic that it looks three-dimensional.
A spray used to set charcoal, pencil or pastel images to the paper to protect against smearing, smudging or flaking.
Thick paint applied to a surface in a heavy manner, creating thick, textured layers of paint with obvious brush strokes, and having the appearance and consistency of buttery paste.
A water-based paint that uses egg, egg yolk, glue or casein as a binder.
A flexible and luminous type of paint in which the pigment is typically held together with a binder of linseed oil.
The medium that holds pigment particles together in paint; for example, linseed oil or acrylic polymer.
The area of a painting that seems closest to the viewer.
A thin, transparent layer of paint.
The art of arranging the elements and/or color of an artwork in a manner that pleases the eye.
The purity or degree of a color’s saturation; its relative absence of white or gray.
Paint made by suspending pigment in a binder. Developed commercially in the 30s and 40s and perfected in the 50s through 70s.
A stand or resting place for working on or displaying a painting.
A plain woven cloth of natural fibers usually stretched tightly over a wooden frame before being painted on.
A detail, brushstroke, or area of color placed in a painting for emphasis.
A type of paint, characterized by transparency, that uses water-soluble gum as the binder.
A rich, reddish-brown pigment, produced from the ink sac of an octopus or cuttlefish, used in watercolor, drawing ink and oil paint.
Bold contrast between light and dark, highly developed by Renaissance painters.
Fusing two color planes together so no sharp divisions are apparent.
An amorphous form of carbon used for drawing and for preliminary sketching on primed canvas for oil painting.
A soft paintbrush often made of sable, nylon, or a mixture of the two.
accent
acrylic
binder
blending
canvas
charcoal
chiaroscuro
chroma
complementary colors
composition
deckle
easel
fixative
foreground
gouache
hue
impasto
landscape
oil paint
palette
pigment
sepia
tempera
tint
tone
triptych
trompe l’œil
wash
watercolor
watercolor brush
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wonder if we could make this with example pictures would be hard to present and differentiate I bet