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Art Nouveau line art. Line art emphasizes form and drawings, of several (few) constant widths (as in technical illustrations), or of freely varying widths (as in brush work or engraving). Line art may tend towards realism (as in much of Gustave Doré's work), or it may be a caricature, cartoon, ideograph, or glyph.
Another method used in place of lining is loose-lining. Loose-lining is accomplished by stretching a painted image over polyester sailcloth without adhesive between the fabrics. [2] This technique helps protect the painting from atmospheric pollution, but does not flatten or consolidate the paint surface. [2]
Plaster veneer (American English) or plaster skim (British English) is a construction methodology for surfacing interior walls, by applying a thin layer of plaster over a substrate—typically over specially formulated gypsum board base, similar in nature to drywall.
Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices.
A detail of a self-portrait by Rembrandt.Three scratches in the center reveal the reddish ground. In visual arts, the ground (sometimes called a primer) is a prepared surface that covers the support of the picture (e.g., a canvas or a panel) and underlies the actual painting (the colors are overlaid onto the ground).
One of the qualities for which artists value casein paint is that unlike gouache, it dries to an even consistency, making it ideal for murals. Also, it can visually resemble oil painting more than most other water-based paints, and works well as an underpainting. Casein paint loses its solubility with time and exposure and becomes water-resistant.
The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster.
[citation needed] Due to the fine detail and control found in the images, such as strands of hair painted in thicknesses of 1–2 millimetres (0.039–0.079 in), it has been suggested that feather quills may have been used as a technique to apply the paint to the rock walls; an imprint of a feather found at one site may support this possibility ...
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