Lithography

In the graphic arts, a method of printing from a prepared flat stone,   metal or plastic plate, invented in the late eighteenth century.   A drawing is made on the stone or plate with a greasy crayon or   tusche, and then washed with water. When ink is applied it sticks   to the greasy drawing but runs off (or is resisted by) the wet surface   allowing a print – a lithograph – to be made of the drawing. The artist,   or other print maker under the artist’s supervision, then covers the plate   with a sheet of paper and runs both through a press under light pressure.   For color lithography separate drawings are made for each color.

Serigraph

Serigraphy (also referred to as ‘silk-screen’ or ‘screenprint’) is a color stencil printing process in which a special paint is forced through a fine screen onto the paper  beneath. Areas which do not print are blocked with photo sensitive emulsion that has been exposed with high intensity  arc lights. A squeegee is pulled from back to front, producing a direct transfer of the image from screen to paper.  A separate stencil is required for each color and one hundred colors or more may be necessary to achieve the desired effect.  A serigraph differs from other graphics in that its  color is made up of paint films rather than printing ink stains. This technique is extremely versatile, and can create effects  similar to oil color, transparent washes as well as gouache and pastel.

Avant-Garde

A group active in the invention and application of new ideas and techniques in an  original or experimental way. A group of practitioners and/or advocates of   a new art form may also be called avant-garde. Some avant-garde works are intended  to shock those who are accustomed to traditional, established styles.

Certificate of Authenticity

Certifies the authenticity of an individual piece   in an edition and states the current market value.

Aquatint

A print produced by the same technique as an etching, except that the areas between the etched lines are covered with a powdered resin that protects the surface from the biting process of the acid bath. The granular appearance that results in the print aims at approximating the effects and gray tonalities of a watercolor drawing.

Artist’s Proof

An Artist’s Proof is one outside the regular edition, but printed at the same time or   after the regular edition from the same plates without changes. By custom, the artist   retains the A/Ps for his personal use or sale. Typically, 10% of the edition total is   designated as A/P, or in the case of a small edition, five graphics are usually so designated.

Atelier

French term for “printer’s workshop.”

Bon a Tirer (B.A.T.)

When the artist is satisfied with the graphic from the finished plate,   he works with his printer to pull one perfect graphic and it is marked   “Bon a Tirer,” meaning “good to pull.” The printer then compares each   graphic in the edition with the BAT before submitting the graphic to   the artist for approval and signature. There is typically one BAT    which becomes the property of the printer or workshop printing the edition.

Bronze

An alloy of copper and tin, sometimes containing small proportions   of other elements such as zinc or phosphorus. It is stronger, harder,   and more durable than brass, and has been used most extensively since   antiquity for cast sculpture. Bronze alloys vary in color from  a silvery   hue to a rich, coppery red. U.S. standard bronze is composed of 90%   copper, 7% tin, and 3% zinc.

Ceramics

The art making of objects of clay and firing them in a kiln.   Wares of earthenware and porcelain, as well as sculpture are   made by ceramists. Enamel is also a ceramic technique.   Ceramic materials may be decorated with slip, engobe, or glaze,   applied by a number of techniques, including resist, mishima,   and sanggam. Pots made be made by the coil, slab, or some other   manual technique, or on a potter’s wheel.

Chiaroscuro (Ke-ära-skooro)

In drawing, painting, and the graphic arts, the rendering of forms   through a balanced contrast between light and dark areas. The   technique which was introduced during the Renaissance, is   effective in creating an illusion of depth and space around   the principal figures in a composition. Leonardo Da Vinci and   Rembrandt were painters who excelled in the use of this technique.

Etching

The technique of reproducing a design by coating a metal plate with wax  and drawing with a sharp instrument called a stylus through the wax down  down to the metal. The plate is put in an acid bath, which eats away the  incised lines; it is then heated to dissolve the wax and finally inked and  printed on paper. The resulting print is called the etching.

Foreshortening

The diminishing of certain dimensions of an object or figure in   order to depict it in a correct spatial relationship. In   realistic depiction, foreshortening is necessary because although   lines and planes that are perpendicular to the observer’s line   of vision (central visual ray), and the extremities of which   are equidistant from the eye, will be seen at their full size, when   they are revolved away from the observer they will seem   increasingly shorter. Thus for example, a figure’s arm   outstretched toward the observer must be foreshortened the dimension   of lines, contours and angles adjusted order that it not appear   hugely out of proportion. The term foreshortening is applied to the   depiction of a single object, figure or part of an object or   figure, whereas the term perspective refers to the depiction of   an entire scene.

Gouache

The technique of applying opaque watercolor to paper; also   a work of art so produced. The usual gouache painting   displays a light-reflecting brilliance quite different   from the luminosity of transparent watercolors.

Hors Commerce (H.C.)

Hors Commerce (Not for Trade) traditionally were the   graphics pulled with the regular edition, but were   marked by the artist for business use only. These graphics   were used for entering exhibitions and competitions, but today,   these graphics generally are allowed into distribution through   regular channels.

Impasto

Paint applied in outstanding heavy layers or strokes; also, any   thickness or roughness of paint or deep brush marks, as   distinguished from a flat, smooth surface.

Manifesto

In art, a public declaration or exposition in print of   the theories and directions of a movement. The   manifestos issued by various individual artists or   groups of artists, in the first half of the twentieth   century served to reveal their motivations and raisons   d‚etre and stimulated support for or reactions against them.

Maquette

In sculpture, a small model in wax or clay, made as a   preliminary sketch, presented to a client for his approval of   the proposed work, or entered in a competition for a prize   or scholarship. The Italian equivalent of the term is bozzetto, meaning   small sketch.

Montage

A picture made up of various proportions of   existing pictures, such as photographs or prints, arranged   so they join, overlap, or blend with one another.

Monotype

A one-of-a-kind print made by painting on a sheet or slab of glass   and transferring the still-wet painting to a sheet of paper held   firmly on the glass by rubbing the back of the paper with a   smooth implement, such as a large hardwood spoon. The   painting may also be done on a polished plate, in which   case it may be either printed by hand or transferred to   paper by running the plate and paper through an etching press.

Museum

A building, place or institution devoted to the acquisition, conservation,  study, exhibition and educational interpretation of objects having scientific,  historical or artistic value. The word Museum is derived from the Latin muses, meaning “a source of inspiration,” or “to be absorbed in one’s thoughts.”

Pastel

A colored crayon that consists   of pigment mixed with just enough of a aqueous binder to   hold it together; a work of art produced by pastel crayons; the   technique itself. Pastels vary according to the volume of chalk   contained…the deepest in tone are pure pigment. Pastel is   the simplest and purest method of painting, since pure color   is used without a fluid medium and the crayons are applied   directly to the pastel paper. Pastels are called paintings   rather than drawings, for although no paint is used, the   colors are applied in masses rather than in lines.

Patina

A film or an incrustation, usually green, that   forms on copper and bronze after a certain amount of   weathering and as a result of the oxidation of the copper. Special   chemical treatments will also induce different colored patinas on   new bronzes. Bronzes may be painted with acrylic and lacquer.

Perspective

The representation of three-dimensional objects on a flat surface so as to produce the same impression  of distance and relative size as that received by the human eye. In one-point linear perspective,developed  during the fifteenth century, all parallel lines in a given visual field converge at a single vanishing point  on the horizon. In aerialoratmospheric perspective, the relative distance of objects is indicated by gradations  of tone and color and by variations in the clarity of outlines.

Pochoir

A stencil and   stencil-brush process for making muticolored prints, and   for tinting black-and-white prints, and for coloring   reproductions and book illustrations, especially fine and   limited editions. Pochoir, which is the French word for   stencil, is sometimes called hand-coloring or hand-illustration. Pochoir, as   distinguished from ordinary stencil work, is a highly refined   technique, skillfully executed in a specialized workshop.

Pointillism

A branch of French Impressionism in which the principle   of optical mixture or broken color was carried to the   extreme of applying color in tiny dots or small, isolated   strokes. Forms are visible in a pointillist painting   only from a distance, when the viewer’s eye blends the   colors to create visual masses and outlines. The inventor   and chief exponent of pointillism was George Seurat (1859-1891); the   other leading figure was Paul Signac (1863-1935).

Remarque

A current practice of some artists is the addition of a small   personalized drawing or symbol near his   pencil signature in the lower margin. The   practice is borrowed from Whister’s famous “butterfly” which   was added to personalize many of his graphics.

Repoussoir

From the French verb meaning to push back. A means of achieving perspective  or spacial contrasts by the use of illusionistic devices such as the placement of a large figure  or object i the immediate foreground of a painting to increase the illusion of depth in the rest  of the picture.

Stipple

In painting, to apply small dots of color with the   point of the brush; also to apply paint in a   uniform layer by tapping a vertically held brush   on the surface in repeated staccato touches.

Tirage

Document that provides background information on the   graphic edition such as edition size, printer, technique, year   of execution.

Trompe L´oeil (Tromp´- loy)

A french term meaning “deception of the eye.” It is applied   to painting so photographically realistic that it may   fool the viewer into thinking that the objects or scene   represented are real rather than painted.

Wash

Used in watercolor painting, brush drawing, and occasionally in oil painting to describe a broad thin layer  of diluted pigment or ink. Also refers to a drawing made in this technique.