Art Terms

The Language of Art - I

As technology and materials update, so do the terms used to describe various art techniques, tools and methods.  This article will discuss a few terms, some old and some newer, some frequently used and some seldom used but no less applicable.

A Binder is an adhesive liquid, most often non-volatile, that attaches pigment particles and the paint film into a single unit.  The binder also works to bond that single unit of pigment and film onto a substrate: paper, canvas, wood, plaster, etc.  This binder can be clear or cloudy but almost always dries with no visible trace.

Diluents are liquids, such as turpentine for oil painting and water for acrylic painting, used to dilute the paint color.  These can cause a change in the intensity of the pigment/color depending on the amount of diluent used.  If you just soften the paint, rather than make it a super fluid mixture, less change in dry paint color will occur.

A nearly self-explanatory term, blot drawing is exactly what it says—a technique where an accidental “blot” of paint is used as the starting point of a landscape painting.  By its very nature, that of spontaneity, it is not usually a representational landscape but one drawn from the artist’s imagination.

Anamorphosis is a distorted projection or perspective that requires the viewer to use a special device to see the image.  The word has its origin in Greek where ana–morphosis means “formed again.”  There are two main types of anamorphosis:  perspective and mirror.  Perspective anamorphosis requires the viewer to stand in a particular location in relation to the art, thus allowing the viewer to see the intended image.  With mirror anamorphosis, a curved mirror is placed on the drawing or painting to transform a flat distorted image into a three-dimensional picture that can be viewed from many angles.  Viewed without a mirror, the image is deformed and out of proportion; with the mirror, all the misshapen images are drawn into correct position.  The Chinese invented the anamorphoscope and in the 17^th and 18^th centuries Italians began to use slant anamorphosis which did not require mirrors.  Leonardo da Vinci mastered the technique.

Interference paint is used by acrylic painters and offers sheen that is unique.  This paint is created by combining a polymer emulsion (paint) with titanium-coated mica flakes.  Different sized particles offer different degrees of shimmer.  When painted over a dark or light color the artist manipulates the color that is visible.  Over dark backgrounds, the labeled interference color is most apparent.  Painted over white or very light surfaces, the complementary color to that of the labeled color appears.  The angle of view from which you are looking at the painting also affects the color you see in the interference areas.  Additionally, when used in faux finishing, the two tones offer an ever-changing tonal surface.

Ebauché is roughly described as a draft, a rough copy or a sketch.  As the French word means “outline,” “blank,” “frame” or “rough draft,” it is used to describe the base drawing done in a wash of diluted paints of earth tone color.  These tones are easily painted over yet give structure to the initial work done by the artist.  Ebauché is done in paint rather than using charcoal or pencil to sketch in preliminary shapes and structure.

Art terms are used continuously and are most often very specific to a technique or method of material application.  Look for more terms in coming issues.