Glossary

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	Abstract art	Abstract art uses a visual language of form, colour and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.
	Acrylic paint	Acrylic paint is fast-drying paint containing pigment suspended in an acrylic polymer emulsion. Acrylic paints can be diluted with water, but become water-resistant when dry. Depending on how much the paint is diluted (with water) or modified with acrylic gels, mediums, or pastes, the finished acrylic painting can resemble a watercolour or an oil painting, or have its own unique characteristics not attainable with the other media.
	Alizarin	Alizarin is an organic compound that is historically important as a prominent dye. It is an anthraquinone originally derived from the root of the madder plant. In 1869, it became the first natural pigment to be duplicated synthetically. Alizarin is also the name for a variety of related dyes, such as "Alizarine Cyanine Green G" and "Alizarine Brilliant Blue R."
	Aquamarine	Aquamarine is colour that is a tint of cyan. It is named after the mineral aquamarine. Aquamarine is found as a precious gemstone mainly found in granite rocks.
	Artist	Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially, as, "a person who expresses themselves through a medium".
	Azure	Azure is a blue colour on the HSV colour wheel (Hue, Saturation, Value) at 210 degrees. Azure is the hue that is halfway between blue and cyan. Its complementary colour is orange.

Burnt umber

Burnt umber is both a pigment and a colour. The dark brown pigment is made by heating umber, a clay containing oxides of iron and manganese, and is used for oil and water colour paint.

	Cadmium	Cadmium pigments are a class of pigments that have cadmium as one of the chemical components. The principal pigments are a family of yellow/orange/red cadmium sulphides and sulfoselenides. Cadmium yellow is cadmium sulphide (CdS), cadmium red is cadmium selenide (CdSe) and cadmium orange is an intermediate cadmium sulfoselenide. Cadmium yellow is sometimes mixed with viridian to give a bright, pale green mixture called cadmium green. Brilliantly coloured, with good permanence and tinting power, Cadmium Yellow, Cadmium Orange, and Cadmium Red are familiar artist colours.
	Canvas	Canvas is an extremely heavy-duty plain-woven fabric. It is also popularly used as a painting surface, typically stretched.
	Cerulean	Cerulean may be applied to a range of colours from deep blue, sky-blue, bright blue or azure colour through greenish blue colours. The first recorded use of cerulean as a colour name in English was in 1590.[1] The word is probably derived from the Latin word caeruleus, "dark blue, blue or blue-green", which in turn probably derives from caelulum, diminutive of caelum, "heaven, sky".
	Charcoal	Charcoal is used in art for drawing, making rough sketches in painting and is one of the possible media for making a parsemage. It must usually be preserved by the application of a fixative. Artists generally utilize charcoal in three forms: Vine charcoal is created by burning sticks of wood (usually willow or linden/Tilia) into soft, medium, and hard consistencies. Bamboo charcoal is the principal tool in Japanese Sumi-e charcoal drawing art. Compressed charcoal charcoal powder mixed with gum binder compressed into round or square sticks. The amount of binder determines the hardness of the stick. Compressed charcoal is used in charcoal pencils. Powdered charcoal is often used to "tone" or cover large sections of a drawing surface. Drawing over the toned areas will darken it further, but the artist can also lighten (or completely erase) within the toned area to create lighter tones.
	Cobalt blue	Cobalt blue is a cool, slightly de saturated blue colour, historically made using cobalt salts.
	Collage	Collage is the assemblage of different forms creating a new whole. For example, an artistic collage work may include newspaper clippings, ribbons, bits of coloured or hand-made papers, photographs, etc., glued to a solid support or canvas.
	Computer art	Computer art is any art in which computers played a role in production or display of the artwork. Such art can be an image. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred.
	Contemporary art	Contemporary art can be defined variously as art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.
	Cubism	Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture.
	Cyan	Cyan (from Greek / kyanous, meaning "blue") may be used as the name of any of a number of a range of colours in the blue/green part of the spectrum.

	Damar	Damar gum, also dammar gum, a resin produced by the Dipterocarpaceae family of trees
	Digital art	Digital art most commonly refers to art created on a computer in digital form. Digital art can be purely computer-generated, such as fractals, and algorithmic art or taken from another source, such as a scanned photograph, or an image drawn using vector graphics software using a mouse or graphics tablet.
	Digital painting	Digital painting is an emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a digitizing tablet and stylus, and software. Traditional painting is painting with a physical medium as opposed to a more modern style like digital. Digital painting differs from other forms of digital art, particularly computer-generated art, in that it does not involve the computer rendering from a model. The artist uses painting techniques to create the digital painting directly on the computer.

	Easel	An easel is an upright support used for displaying and/or fixing something resting upon it. There are two common designs for easels: * Tripod designs are based on three legs. Variations include crossbars to make the easel more stable and an independent mechanism to allow for the vertical adjustment of the working plane without sacrificing the stability of the three legs of the easel. * H-Frame designs are based on right angles. All posts are generally parallel to each other with the base of the easel being rectangular. The main portion of the easel consists of two vertical posts with a horizontal crossbar support, thus giving the design the general shape of an "H." Variations include additions that allow the easel's verticality to be adjusted. There are three common usages for easels: * Studio easels are meant for use in the artist's studio with limited need for the easel to be portable. Studio easels may be simple in design or very complex including winches, multiple masts and casters. The largest easels are studio easels with some being able to support weights of over 200 lb. and panels over 7 feet in height. * Field easels are meant to be portable and for the creation of en plein air work. These easels are usually mid-sized or small, have telescopic or collapsible legs and are based on the tripod design. French box easels include a compartment in which to store art supplies conveniently along with a handle or straps so that the French box may be carried like a briefcase or a backpack. * Display easels are meant for the display of finished works. These easels tend to be very simple in design with less concern for the stability needed by a working artist. Display easels can vary in size and sturdiness depending upon the weight and size of the object to be placed on them.
	Emulsion	An 'emulsion' [IPA]: [1]) is a mixture of two immiscible (unblendable) liquids. One liquid (the dispersed phase) is dispersed in the other (the continuous phase). Many emulsions are oil/water emulsions, with dietary fats being one common type of oil encountered in everyday life. Examples of emulsions include butter and margarine, milk and cream, and vinaigrettes; the photo-sensitive side of photographic film, magmas and cutting fluid for metal working. In butter and margarine, fat surrounds droplets of water (a water-in-oil emulsion). In milk and cream, water surrounds droplets of fat (an oil-in-water emulsion). In certain types of magma, globules of liquid NiFe may be dispersed within a continuous phase of liquid silicates. Emulsification is the process by which emulsions are prepared.
	Encaustic painting	Encaustic painting, also known as hot wax painting, involves using heated beeswax to which coloured pigments are added. The liquid/paste is then applied to a surface — usually prepared wood, though canvas and other materials are often used.

	Fat over lean	'Fat over lean' refers to the principle, in oil painting, of applying paint with a higher oil to pigment ratio ('fat') over paint with a lower oil to pigment ratio ('lean') to ensure a stable paint film. Oil paint dries at different rates due to the differing siccative properties of the constituent pigment. However, everything else being equal, the higher the oil to pigment ratio, the longer the oil binder will take to oxidize, and the more flexible the paint film will be. Conversely, the lower the oil content, the faster the paint dries, and the more brittle it will be. Ignoring this practice, even in some alla prima painting, may result in a cracked and less durable paint film. It has been claimed by some paint manufacturers that the 'fat-over-lean' principle can be circumvented by using synthetic, alkyd-based painting media such as Galkyd and Liquin. These media do provide consistent drying times, increase the paint film flexibility, and promote adhesion between paint layers. However, since classical painting media, turpentine, natural resins, and certain plant oils ( linseed, walnut and poppy), applied properly have lasted for centuries, some artists choose to avoid synthetic media since their long-term stability is unknown.
	Flemish painting	Flemish painting flourished from the early 15th century until the 17th century. The so-called Flemish "Primitives" were the first to popularise the use of oil paint. Their art has its origins in the miniature painting of the late Gothic period.
	Fresco	Fresco (plural either frescos or frescoes, from Portuguese) is any of several related painting types, done on plaster on walls or ceilings. The word fresco comes from the Italian word affresco which derives from the adjective fresco ("fresh"), which has Latin origins.Fresco's were often made during the Renaissance and other early time periods.One famous fresco artist from the Renaissance is Mark.

	Galkyd	Galkyd made by Gamblin, is an alkyd resin painting medium that increases the fluidity of oil colors and speeds their drying time. Thin layers of oil colors are dry in 24 hours. The viscosity of Galkyd is similar to traditional painting mediums made from linseed stand oil. Galkyd levels brush strokes, creates a strong flexible paint film and leaves an enamel like glossy finish. Galkyd is ready to use. Thins with odorless mineral spirits. Painters can add up to 50% by volume odorless mineral spirits to change the viscosity of Galkyd for glazing. Galkyds are excellent glazing mediums.
	Genesis Heat Set Paint	Not Oil or Acrylic Genesis® Oil Paints are a new paint chemistry, called "Heat-Set Artist Oils." Genesis® is an artist quality fine-art paint that is ready to apply without repeated pre-mixing and will not dry until you are ready; then it dries very quickly. Genesis® Oil Paints stay wet until heated, making them more convenient than oils or acrylics. The paint will not dry when left in the open on a non-porous surface. Genesis® Oil Paints offer fine control in mixing, blending and application, and can be worked in many states without the addition of mediums. They are very similar to oil paints in feel, opacity and translucence. We encourage you to experiment with your style to achieve the desired effect. Other paints have very different chemistries from Genesis® Oil Paints. Do not mix Genesis® Oil Paints with other oils or acrylics because the results are unpredictable. Since Genesis® Oil Paints do not air dry, you do not have to clean your brushes even if you will not get back to painting for days, weeks or even months. When cleaning brushes for quick colour changes, simply wipe off excess paint, swirl in rubbing alcohol or Genesis® Brush Cleaner, wipe and repeat. The alcohol quickly cleans and evaporates out of the cleaned brush. You may also clean brushes by using warm water and soap, such as Dawn dish washing detergent. Dry your brushes thoroughly after cleaning. While Genesis® Oil Paints can be thinned or cleaned with solvents commonly used with oil pants such as paint thinner, turpenoid and mineral spirits, these solvents are not necessary. Most artists prefer rubbing alcohol or non-toxic Genesis Thinning Medium. Genesis® Oil Paints are not water soluble. Certified Non-Toxic Genesis® Oil Paints are certified non-toxic and conform to ASTM D-423. They are certified in a program of toxicological evaluation by a medical expert to contain no material in sufficient quantities to be toxic or injurious to humans or to cause acute or chronic health problems.
	Giclée	Giclée (pronounced "zhee-clay" from French is an invented name (i.e. a neologism) for the process of making fine art prints from a digital source using ink-jet printing. The word "giclée" is derived from the French language word "le gicleur" meaning "nozzle", or more specifically "gicler" meaning "to squirt, spurt, or spray"[1]. It was coined in 1991 by Jack Duganne, a printmaker working in the field, to represent any inkjet-based digital print used as fine art.
	Glaze	Glaze or glazing is a thin shiny coating, or the act of applying the coating.
	Gouache	Gouache, Pronounced "Gwash" (rhymes with "squash") (from the Italian guazzo, "water paint, splash") or body color (the term preferred by art historians) is a type of paint consisting of pigment suspended in water. Gouache differs from watercolour in that the particles are larger, the ratio of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. Like all water media, it is diluted with water. (Gum Arabic is also present as a binding agent just like in water colour.) This makes gouache heavier and more opaque, with greater reflective qualities.
	Graphics tablet	A graphics tablet (or digitizing tablet, graphics pad, drawing tablet is a computer input device that allows one to hand-draw images and graphics, similar to the way one draws images with a pencil and paper. These tablets may also be used to capture data of handwritten signatures.
	Grisaille	Grisaille (grɪʼzaɪ, -ʼzeɪl; French: gris, grey, French pronunciation: /ɡʁi.zaj/) is a term for painting executed entirely in monochrome, usually in shades of grey or brown, particularly used in decoration to represent objects in relief. Italian examples may be described as work in grisaglia or chiaroscuro, although this term has other meanings as well. Some grisailles in fact include a slightly wider colour range, like the Andrea del Sarto illustrated. The photographic equivalent would be a Sepia Tone. A grisaille may be executed for its own sake as a decoration, as the first layer of an oil painting (in preparation for glazing layers of colour over it), or as a model for an engraver to work from.

	Immiscible	Miscibility is a term commonly used in chemistry that refers to the property of liquids to mix in all proportions, forming a homogeneous solution. In principle, the term applies also to other phases (solids and gases), but the main focus is on the solubility of one liquid in another. Water and ethanol, for example, are miscible since they mix in all proportions. By contrast, substances are said to be immiscible if in any proportion, they do not form a solution. For example, diethyl ether is fairly soluble in water, but these two solvents are not miscible since they are not soluble in all proportions.
	Impasto	In English, the borrowed Italian word impasto most commonly refers to a technique used in painting, 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. Paint can also be mixed right on the canvas. When dry, impasto provides texture, the paint coming out of the canvas.
	Impressionism	Impressionism was a 19th-century art movement that began as a loose association of Paris-based artists exhibiting their art publicly in the 1860s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari.

	Lapis lazuli	Lapis lazuli (SimplePronounciation \| lap-iz-la-zoo-lee) (sometimes abbreviated to lapis) is a semi-precious stone prized since antiquity for its intense blue colour. It was also ground and processed to make the pigment ultramarine for tempera paint and, more rarely, oil paint. Its usage as a pigment in oil paint ended in the early 19th century as a chemically identical synthetic variety, often called French Ultramarine, became available.
	Linen	Linen is a textile made from the fibres of the flax plant, Linum usitatissimum. Linen is labour intensive to manufacture. Linen fabric is one of the preferred traditional supports for oil painting. In the United States cotton is popularly used instead as linen is many times more expensive there, restricting its use to professional painters. In Europe however, linen is usually the only fabric support available in art shops. Linen is preferred to cotton for its strength, durability and archival integrity.
	Linseed oil	Linseed oil, also known as flax seed oil or simply flax oil, is a clear to yellowish drying oil derived from the dried ripe seeds of the flax plant (Linum usitatissimum, Linaceae). It is obtained by pressing, followed by an optional stage of solvent extraction. Cold pressed oil obtained without solvent extraction is marketed as flaxseed oil.
	Liquin	Liquin is a quick-drying medium for oil and alkyd paint. Used as an additive in many forms of artwork, liquin is produced by Winsor & Newton and has a number of uses. Notably, it is used to speed the drying time in oil painting, though it may also be used as a barrier layer to achieve some effects. Painted over the top of etchings, Indian-ink drawings and other line art, it enables the application of colours by tinting with thin glazes of oil paint. This technique was first discovered by the artist Patrick Woodroffe and is outlined in his book "A Closer Look"
	Liquol	Liquol made by Art Spectrum is a fast drying alkyd based painting and glazing medium. Ideal for multi layered glazing where it will give great depth and subtlety of colour.

	Mineral Turpentine	Mineral turpentine, also known as turpentine substitute, turps substitute, or just turps is an inexpensive petroleum-based replacement for the vegetable-based turpentine. It is commonly used as a paint thinner for thinning oil-based paint and cleaning brushes, and as an organic solvent in other applications. Mineral turpentine is a hydrotreated light distillate of petroleum, and consists of a complex mixture of highly refined hydrocarbon distillates mainly in the C9-C16 range. The material is a clear transparent liquid at room temperature. The liquid is highly volatile and the vapours are flammable. It can be a very dangerous inhalant.
	Modern art	Modern art - late 19th century - c. 1970 Modern Art is a term that refers to artistic works produced during the period extending roughly from the 1860s through the 1970s, and denotes the style and philosophy of the art produced during that era.

Navy blue

Navy blue is a dark shade of the colour blue. Navy blue got its name from the dark blue (contrasted with white) worn by officers in the Royal Navy since 1748 and subsequently adopted by other navies around the world.

	ochre	Red ochre and yellow ochre are pigments made from naturally tinted clay. It has been used worldwide since prehistoric times. Chemically, it is hydrated iron (III) oxide. Ochres are non-toxic, and can be used to make an oil paint that dries quickly and covers surfaces thoroughly. Many people believe that the best ochre comes from the area of Roussillon, France.
	Oil Paint	Oil paint is a type of slow-drying paint consisting of small pigment particles suspended in a drying oil. Oil paints have been used in England as early as the 13th century for simple decoration, but were not widely adopted for artistic purposes until the 15th century. The most common modern application of oil paint is domestic, where its hard-wearing properties and luminous colours make it desirable for both interior and exterior use. Its slow-drying properties have recently been used in paint-on-glass animation.
	Old Master	"Old Master" (or "old master") is a term for a European painter of skill who worked before about 1800, or a painting by such a painter. An "old master print" is an original print (for example an engraving or etching) made by an artist in the same period. Likewise an "old master drawing". In theory an Old Master should be an artist who was fully trained, was a Master of his local artists' guild, and worked independently, but in practice paintings considered to be produced by pupils or workshops will be included in the term. Therefore, beyond a certain level of competence, date rather than quality is the criterion for using the term.
	Overpainting	Overpainting can mean the final layers of paint, over some type of underpainting, in a system of working in layers. It can also mean later paint added by restorers, or an artist or dealer wishing to "improve" or update an old image; unfortunately a very common practice in the past. The underpainting gives a context in which the paint-strokes of the overpainting become more resonant and powerful. When properly done, overpainting does not need to completely obscure the underpainting. It is precisely the interaction of the two that gives the most interesting effects.

	Painting	Painting is the practice of applying paint, pigment, colour or other medium to a surface (support base). In art, the term describes both the act and the result, which is called a painting. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay or concrete. Paintings may be decorated with gold leaf, and some modern paintings incorporate other materials including sand, clay, and scraps of paper. Painting is a mode of expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature.
	Painting in Layers	Artists have used oil paints since the eighth century, but their widespread use dates from the early fifteenth century, when Flemish painters like Broederlam and van Eyck built up exquisite works in repeated layers of paint, often as glazes over thin layers of opaque oil paint. Oil dried more slowly and evenly than tempera, allowing the artist the time to correct or extend his work.
	Painting Medium	Only two ingredients are needed to make oil painting medium: linseed stand oil and turpentine. Mix one part linseed stand oil with two parts turpentine or odorless mineral spirits, cover tightly, and let sit. Stand oil is so thick, that the two liquids won't want to combine right away, so be prepared to wait a few days for it to completely mix. OR.... If your impatient, give it a shake or two, this will speed up the mixing process. Store in glass containers with a tight screw on cap work best, and it will last a long time.
	Palette	A palette is: A surface on which a painter mixes colour pigments. A palette may be made of wood, glass, plastic, ceramic tile or other inert material and can vary greatly in size and shape. The most commonly known type of painter's palette is made of thin wood board designed to be held in the artist's hand and rest on the artist's arm; the range of colours in a given work or item or body of work.
	Palette knife	A palette knife is a blunt knife with an extremely flexible steel blade and no sharpened cutting edge. It is primarily used for mixing paint colours, paste, etc., or for marbling, decorative endpapers, etc. The "palette" in the name is a reference to an artist's palette which is used for mixing oil paints. Certain artistic techniques call for painting with a palette knife.
	Parsemage	Parsemage is a surrealist and automatic method in the visual arts invented by Ithell Colquhoun in which dust from charcoal or colored chalk is scattered on the surface of water and then skimmed off by passing a stiff paper or cardboard just under the water's surface.
	Pencil	A pencil is a writing or drawing instrument consisting of a thin stick of pigment (usually graphite, but can also be coloured pigment or charcoal) and clay, usually encased in a thin wood cylinder, though paper and plastic sheaths are also used. Pencils are distinct from pens, which use a liquid marking material.
	Pigment	A pigment is a material that changes the colour of light it reflects as the result of selective colour absorption. This physical process differs from fluorescence, phosphorescence, and other forms of luminescence, in which the material itself emits light. Many materials selectively absorb certain wavelengths of light. Materials that humans have chosen and developed for use as pigments usually have special properties that make them ideal for colouring other materials. A pigment must have a high tinting strength relative to the materials it colours. It must be stable in solid form at ambient temperatures. For industrial applications, as well as in the arts, permanence and stability are desirable properties. Pigments that are not permanent are called fugitive. Fugitive pigments fade over time, or with exposure to light, while some eventually blacken. Pigments are used for colouring paint, ink, plastic, fabric, cosmetics, food and other materials. Most pigments used in manufacturing and the visual arts are dry colourants, usually ground into a fine powder. This powder is added to a vehicle (or matrix), a relatively neutral or colourless material that acts as a binder.
	Plein air	En plein air is a French expression which means "in the open air", and is particularly used to describe the act of painting outdoors. Artists have long painted outdoors, but in the mid-19th century working in natural light became particularly important to the Barbizon school and Impressionism. The popularity of painting en plein air increased in the 1870s with the introduction of paints in tubes (resembling modern toothpaste tubes)
	Poppyseed oil	In oil painting, linseed oil remains the most popular oil for binding pigment, thinning paint, and varnishing finished paintings. Walnut oil and poppyseed oil are also favored by oil painters, though each of the three oils is used for a different purpose. While poppyseed oil does not leave the unwanted yellow tint for which linseed oil is known, it is much weaker in the test of time than the contemporary linseed oil. Because poppyseed oil dries much more slowly (5-7 days) than linseed oil (3-5 days), "fat over lean" rules apply, poppyseed oil falling on the "fat" side. Therefore, poppyseed oil should never be used for a ground layer of a painting, as it dries slower than leaner oils, and linseed oil should not be painted over a layer of poppyseed oil; this will likely cause cracks and peeling as the upper layer dries first, making the "lean" layer vulnerable to contraction when the "fat" layer dries underneath it.
	Prussian blue	Prussian blue is a very dark blue, colour-fast, non-toxic pigment – one of the first synthetic pigments – which was discovered accidentally in Berlin in 1704. Its name comes from the fact that it was first extensively used to dye the dark blue uniforms of the Prussian army. Another name for the colour Prussian blue is Berlin blue.

	Renaissance	Renaissance c. 1300 - c. 1602 Italian Renaissance - late 14th century - c. 1600 - late 15th century - late 16th century The Renaissance (from French Renaissance, meaning "rebirth"; Italian: Rinascimento, from re- "again" and nascere "be born") was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform, this is a very general use of the term. As a cultural movement, it encompassed a revival of learning based on classical sources, the development of linear perspective in painting, and gradual but widespread educational reform. Traditionally, this intellectual transformation has resulted in the Renaissance being viewed as a bridge between the Middle Ages and the Modern era. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments.
	Rose	Rose is the colour halfway between red and magenta on the HSV colour wheel, on which it is at hue angle of 330 degrees. Rose has 67% red (two thirds) and 33% blue (one third). It is a tertiary colour on the HSV colour wheel. The complementary colour of rose is spring green.
	Rose madder	Rose madder, sometimes referred to as Rose Madder Genuine is the crushed root of the Common Madder plant (Rubia tinctorium). The ancient Egyptians used rose madder to create pinkish rose-coloured textile dyes. The Colour Index name used by paint and textile chemists for Rose Madder is Natural Red 9 (NR9)

	Safflower oil	Safflower oil is also used in painting in the place of linseed oil, particularly with white, as it does not have the yellow tint which linseed oil possesses.
	Self Portrait	A Self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the Early Renaissance in the mid 1400s that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. The probable example by Jan van Eyck of 1433 is the earliest known panel self-portrait.He painted a separate portrait of his wife, and he belonged to the social group that had begun to commission portraits, already more common among wealthy Netherlanders than south of the Alps. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular.
	Sepia	Sepia is a dark brown-grey colour, named after the rich brown pigment derived from the ink sac of the common cuttlefish.
	Stand Oil	A heavy viscous oil for blending and to produce surface transparecy and brightness. A thickened drying oil, linseed oil heated to about 600° F (315° C)

	Teal	Teal, also called teal blue, is equal parts blue and green. The colour gets its name from the fact that it surrounds the eyes of the common teal, a member of the duck family. The complementary colour of teal is coral pink.
	Tempera	Tempera (also known as egg tempera) is a type of artist's paint and associated art techniques that were known from the classical world, where it appears to have taken over from encaustic and was the main medium used for panel painting and illuminated manuscripts in the Byzantine world and the Middle Ages in Europe, until it was replaced by oil painting in Europe.
	Titanium White	Titanium dioxide, also known as titanium oxide or titania, is the naturally occurring oxide of titanium, chemical formula TiO2. When used as a pigment, it is called titanium white, Pigment White 6, or CI 77891.
	Turpenoid	Also Known as Mineral turpentine, also known as turpentine substitute, turps substitute, or just turps is an inexpensive petroleum-based replacement for the vegetable-based turpentine. It is commonly used as a paint thinner for thinning oil-based paint and cleaning brushes, and as an organic solvent in other applications. Mineral turpentine is a hydrotreated light distillate of petroleum, and consists of a complex mixture of highly refined hydrocarbon distillates mainly in the C9-C16 range. The material is a clear transparent liquid at room temperature. The liquid is highly volatile and the vapours are flammable. It can be a very dangerous inhalant.
	Turpentine	Mineral turpentine, also known as turpentine substitute, turps substitute, or just turps is an inexpensive petroleum-based replacement for the vegetable-based turpentine. It is commonly used as a paint thinner for thinning oil-based paint and cleaning brushes, and as an organic solvent in other applications. Mineral turpentine is a hydrotreated light distillate of petroleum, and consists of a complex mixture of highly refined hydrocarbon distillates mainly in the C9-C16 range. The material is a clear transparent liquid at room temperature. The liquid is highly volatile and the vapours are flammable. It can be a very dangerous inhalant.

	Umber	Umber is a natural brown clay pigment which contains iron and manganese oxides. The colour becomes more intense when calcined (heated), and the resulting pigment is called burnt umber. Its name derives from the Latin word umbra (shadow) and was originally extracted in Umbria, a mountainous region of central Italy, but it is found in many parts of the world. Some of the finest umber comes from Cyprus. It has been used as a pigment since prehistoric times.
	Underpainting	In art, an underpainting is an initial layer of paint applied to a ground, which serves as a base for subsequent layers of paint. Underpaintings are often monochromatic and help to define colour values for later painting. There are several different types of underpainting, such as verdaccio and grisaille. Underpainting gets its name because it is painting that is intended to be painted over in a system of working in layers. There is a popular misconception that underpainting should be monochromatic, perhaps in gray-scales.

	Vermilion	Vermilion, sometimes spelled vermilion, when found naturally-occurring, is an opaque orangey red pigment, used since antiquity, originally derived from the powdered mineral cinnabar.
	Viridian	Viridian is a blue-green pigment, a hydrated chromium oxide, of medium saturation and relatively dark in value. It is composed more of green than blue. Specifically, it is a dark shade of spring green, the colour between green and cyan on the colour wheel. Viridian takes its name from the Latin viridis, meaning "green". The first recorded use of viridian as a colour name in English was in the 1860s

	Walnut oil	Walnut oil was one of the most important and vital oils used by Renaissance painters. Its quickness of drying and lack of yellow tint make it a good oil paint thinner and brush cleaner. However, the paint film it produces is considered by some to be inferior to that of linseed oil. Commercially, walnut oil has become harder to find; demand is often low, and stock can become rancid if kept improperly. Instead of walnut oil many artists and stores sell linseed oil, poppyseed oil, and safflower oil as replacements.
	Watercolour paint	Watercolor (US) or Watercolour (UK) (and "aquarelle" in French) is a painting method. A watercolour is the medium or the resulting artwork, in which the paints are made of pigments suspended in a water soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. In East Asia, watercolour painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolour paints originated in China.
	Wet-on-wet	Wet-on-wet is a painting technique in which layers of wet paint are applied to previous layers of wet paint. This technique requires a fast way of working, because the art work has to be finished before the first layers have dried.
	Working in layers	Working in layers is used extensively in oil painting for paintings that require more than one session. For a painting that develops over several days, allowing for the oil paint to dry for a given layer, it is helpful to work with explicit painting layers. The first layer may be a ground, usually applied all over the surface. Then an underdrawing in outline may follow. Then comes underpainting, overpainting, and finally semi-transparent glazes and varnish. All of these layers will affect the appearance of the final painting. To understand the role of underpainting, one can use metaphor and think of the underpainting as a base-rhythm in music, and the overpainting as a solo played over this. Areas not underpainted, outlining the space for a figure for example, are said to be reserved.

Art Forum Melbourne Australia