RVA NA NAMAN

• Two-dimensional art


  Occurs on flat surfaces, like paper, canvas, or even cave walls
• Drawing


  Describes both a visual object and an activity. The term implies something more, "to draw an object is to observe its appearance and transfer that observation to a set of marks." It is a combination of observation and mark making.
• Charcoal


  Made from wood or other organic material that has been burned in the absence of oxygen
• Compressed charcoal


  • Used to make very dark marks, usually on paper. It is challenging to erase.
• Willow or vine charcoal


  • Leaves a very light mark as it is simply burned twigs. It is generally used for impermanent sketches because it does not readily stick to paper or canvas and is easily erased.
• Conté crayon


  A hand-held drawing material similar to compressed charcoal. These are sticks of graphite or charcoal combined with wax or clay that come in a variety of colors, from white to sanguine (deep red) to black, as well as a range of hardness.
• Harder Conté


  • Used for details
• Softer Conté


  • Used for broad areas
• Metalpoint


  The use of malleable metals like silver, pewter, and gold to make drawing marks on prepared surfaces
• Graphite


  A crystalline form of carbon. Because of its silvery color, it was originally thought to be a form of lead, though there is no actual lead in pencils.
• Pastels


  Similar to compressed charcoal but, instead of finely powdered carbon, finely ground colored pigment and a binder are used to create handheld colored blocks.
• Edgar Degas


  • Famous for the subtle yet distinct layering of color he was able achieve in his pastel drawings.
• Oil pastels


  Semi-solid sticks of high pigment oil paint that are used like crayons. They were originally invented to mark livestock, but artists quickly realized their aesthetic potential. They are a convenient way to apply and blend heavily textured oil-based pigment onto any surface without using traditional brushes.
• Ink


  The combination of a colored pigment, usually black carbon or graphite, and a binder suspended in a liquid and applied with a pen or brush.
• Painting


  A specialized form of drawing that refers to using brushes to apply colored liquids to a support, usually canvas or paper, but sometimes wooden panels, metal plates, and walls.
• Paint


  Composed of three main ingredients: pigments, binders, and solvents.
• Colored pigments


  Suspended in a sticky binder in order to apply them and make them adhere to the support.
• Solvents


  Dissolve the binder in order to remove it but can also be used in smaller quantities to make paint more fluid.
• Oil painting


  Discovered in the fifteenth century and uses vegetable oils, primarily linseed oil and walnut oil, as the binding agent.
• Linseed oil


  Chosen for its clear color and its ability to dry slowly and evenly.
• Turpentine


  Generally used as the solvent in oil painting.
• Acrylic painting


  Relatively modern and uses water-soluble acrylic polymer as the binding agent. Water is the solvent.
• Acrylic


  • Dries very quickly and can be used to build up thick layers of paint in a short time.
• Watercolor painting


  Suspends colored pigments in water-soluble gum arabic distilled from the acacia tree as the binder.
• Watercolor paints


  • Mixed with water and brushed onto an absorbent surface, usually paper.
• Encaustic


  Uses melted beeswax as the binder and must be applied to rigid supports like wood with heated brushes.
• Encaustic paintings from ancient Egypt

  • Dating to the period of Roman occupation (late first century BCE-third century CE) are as brilliantly colored as when they were first painted.
• Fresco


  The process of painting onto plaster; it is a long-lasting technique.
• Buon fresco


  • Or "good" fresco, is painting on wet plaster.
• Fresco secco


  • Or dry fresco, is done after the plaster has dried.
• Tempera painting


  Has been around for centuries.
• Egg tempera


  The most popular version of painting during the Middle Ages in which dry colored pigments were mixed with egg yolk and applied quickly to a stable surface in layers of short brushstrokes. Egg tempera is a difficult medium to master because the egg yolk mixture dries very quickly, and mistakes cannot be corrected without damaging the surface of the painting.
• Print


  An image made by transferring pigment from a matrix to a final surface, often but not always paper. Printing allows multiple copies of an artwork to be made.
• Edition


  Multiple copies of an individual artwork.
• Relief prints


  Made by removing material from the matrix, the surface the image has been carved into, which is often wood, linoleum, or metal. The remaining surface is covered with ink or pigment, and then paper is pressed onto the surface, picking up the ink.
• Letterpress


  A relief printing process that transfers ink to paper but also indents an impression into the surface of the paper, creating a texture to the print that is often considered a sign of high quality.
• Intaglio prints


  Made when a design is scratched into a matrix, usually a metal plate. Ink is wiped across the surface, and collects in the scratches. Excess ink is wiped off and paper is pressed onto the plate, picking up the ink from the scratches. Intaglio prints may also include texture.
• Planographic prints


  Made by chemically altering a matrix to selectively accept or reject water. Originally, limestone was used for this process since it naturally repels water but can be chemically changed to absorb it.
• Stone matrix lithography


  Black grease pencil drawings are made on a flat block of limestone, which is then treated with nitric acid.
• Stencil prints


  Made by passing inks through a porous fine mesh matrix.