Портал:Живопись

Фигурная живопись — это произведение изобразительного искусства в любой из живописных техник , где основным объектом является человеческая фигура, одетая или обнаженная . Фигурная живопись может также относиться к деятельности по созданию такой работы. Человеческая фигура была одним из постоянных объектов искусства со времен первых пещерных рисунков каменного века и переосмысливалась в различных стилях на протяжении всей истории.

В отличие от фигурных рисунков , которые обычно представляют собой обнаженные тела, фигурные картины часто представляют собой изображения в одежде, которые могут быть как исторически точными, так и символическими.
Фигурная живопись не является синонимом фигуративного искусства , которое может изображать реальные объекты любого рода (включая людей и животных). ( Полная статья... )

Paint Dancing is an American art and dance craze which involves both painting and dancing. Paint Dancers, using paint, brushes and paper, attend organized events dressed in ready-to-paint and dance clothing. The concept of combining movement and painting originated during the later part of the American and European Modern art period; however, Evangeline Welch of Shreveport, Louisiana has been credited with being the "brainchild" of Paint Dancing in the United States of America. This departure from traditional painting styles was often referred to as Action painting. Over the years, several variations of the art form have evolved, including an adaptation introduced by the Hippies during the Summer of Love, that integrated the art of body painting with dancing. One of the more recent introductions of Paint Dancing to American culture is being popularized by a grassroots movement created in 2006 by Seattle artist and activist Matt Jones. The phrases "paint dancing" and "paint dancer" and other variations were originally coined in 1996 by Gloria M. Buono, author, illustrator and publisher of The Painting Ballerina. (Full article...)

A mural is any piece of graphic artwork that is painted or applied directly to a wall, ceiling or other permanent substrate. Mural techniques include fresco, mosaic, graffiti and marouflage. (Full article...)

The nude, as a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. It was a preoccupation of Ancient Greek art, and after a semi-dormant period in the Middle Ages returned to a central position with the Renaissance. Unclothed figures often also play a part in other types of art, such as history painting, including allegorical and religious art, portraiture, or the decorative arts. From prehistory to the earliest civilizations, nude female figures were generally understood to be symbols of fertility or well-being.

In India, the Khajuraho Group of Monuments built between 950 and 1050 CE are known for their nude sculptures, which comprise about 10% of the temple decorations, a minority of them being erotic. Japanese prints are one of the few non-western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social structure. (Full article...)

Historic paint analysis, or architectural paint research, is the scientific analysis of a broad range of architectural finishes, and is primarily used to determine the color and behavior of surface finishes at any given point in time. This helps us to understand the building's structural history and how its appearance has changed over time.

Historic paint analysis shares a common methodology with the conservation and restoration of paintings used to conserve and restore two- and three dimensional works of art. This involves the identification of components such as organic or inorganic pigments and dyes contained in the pigments. Historic paint analysis also identifies the pigments' media of suspension such as (water, oil, or latex and the paints' associated substrate. A variety of techniques are used to identify and analyze the pigment layers and finish exposure, including Finish Exposure, optical microscopy, fluorescent light microscopy, polarized light microscopy, and Fourier-transform infrared spectroscopy. (Full article...)

The idea of founding a theory of painting after the model of music theory was suggested by Goethe in 1807 and gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee. (Full article...)

A hierarchy of genres is any formalization which ranks different genres in an art form in terms of their prestige and cultural value.

In literature, the epic was considered the highest form, for the reason expressed by Samuel Johnson in his Life of John Milton: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came lyric poetry, and comic poetry, with a similar ranking for drama. The novel took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century. (Full article...)

20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.

Initially influenced by Toulouse-Lautrec, Gauguin, and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere, and cone. With the painting Les Demoiselles d'Avignon (1907; see gallery) Picasso created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions. Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. (Full article...)

Oil painting reproductions are paintings that have been created by copying in oils an original oil painting by an artist.

Oil painting reproductions are distinct from original oil painting such as are often of interest to collectors and museums. Oil painting reproduction can, however, sometimes be regarded as artworks in themselves. (Full article...)

Orange peel is a certain kind of finish that may develop on painted and cast surfaces. The texture resembles the surface of the skin of an orange, hence the name "orange peel".

Gloss paint sprayed on a smooth surface (such as the body of a car) should also dry into a smooth surface. However, various factors can cause it to dry into a bumpy surface. This is typically the result of improper painting technique, and is caused by the quick evaporation of thinner, incorrect spray gun setup (e.g., low air pressure or incorrect nozzle), spraying the paint at an angle other than perpendicular, or applying excessive paint. (Full article...)

Painterliness is a concept based on German: malerisch ('painterly'), a word popularized by Swiss art historian Heinrich Wölfflin (1864–1945) to help focus, enrich and standardize the terms being used by art historians of his time to characterize works of art.

A painting is said to be painterly when there are visible brushstrokes in the final work – the result of applying paint in a manner that is not entirely controlled, generally without closely following carefully drawn lines. Any painting media – oils, acrylics, watercolors, gouache, etc. – can produce either linear or painterly work. Some artists whose work could be characterized as painterly are Pierre Bonnard, Francis Bacon, Vincent van Gogh, Rembrandt, Renoir, John Singer Sargent, and Andrew Wyeth (his early watercolors). The Impressionists, Fauvists and the Abstract Expressionists tended strongly to be painterly. (Full article...)

In painting, a pentimento (Italian for 'repentance'; from the verb pentirsi, meaning 'to repent'; plural pentimenti) is "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over". Sometimes the English form "pentiment" is used, especially in older sources. (Full article...)

A tondo (pl.: tondi or tondos) is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian rotondo, "round". The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower.
A circular or oval relief sculpture is also called a roundel. The infrequently-encountered synonym rondo usually refers to the musical form. (Full article...)

Figura serpentinata (lit. 'serpentine figure') is a style in painting and sculpture, intended to make the figure seem more dynamic, that is typical of Mannerism. It is similar, but not identical, to contrapposto, and features figures often in a spiral pose. Early examples can be seen in the work of Leonardo da Vinci, Raphael and Michelangelo.

Emil Maurer writes of the painter and theorist Gian Paolo Lomazzo (1538–1600): "The recommended ideal form unites, after Lomazzo, three qualities: the pyramid, the serpentinata movement and a certain numerical proportion, all three united to form one whole. At the same time, precedence is given to the "moto", that is, to the meandering movement, which should make the pyramid, in exact proportion, into the geometrical form of a cone." (Full article...)

A picture frame is a protective and decorative edging for a picture, such as a painting or photograph. It makes displaying the work safer and easier and both sets the picture apart from its surroundings and aesthetically integrates it with them. (Full article...)

In visual art, mixed media describes artwork in which more than one medium or material has been employed.
Assemblages, collages, and sculpture are three common examples of art using different media. Materials used to create mixed media art include, but are not limited to, paint, cloth, paper, wood and found objects.

Mixed media art is distinguished from multimedia art which combines visual art with non-visual elements, such as recorded sound, literature, drama, dance, motion graphics, music, or interactivity. (Full article...)

Sign painting is the craft of painting lettered signs on buildings, billboards or signboards, for promoting, announcing, or identifying products, services and events. Sign painting artisans are signwriters, although in North America they are usually referred to as sign painters. (Full article...)

Digital painting is the creation of imagery on a computer, using pixels (picture elements) which are assigned a color. The process uses raster graphics rather than vector graphics, and can render graduated or blended colors in imagery which mimics traditional drawing and painting media. (Full article...)

The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground (linen or parchment sized with glues, resin, and gesso), and an image layer (encaustic, tempera, oil). They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state. (Full article...)

Incised painting is a technique used to decorate stone surfaces. First, a channel is scratched in the stone. Then, a thick paint or stucco plaster is laid across the surface. Last, the paint is scraped off the surface of the stone, leaving paint in the incision. This technique was used in decorating the Taj Mahal. (Full article...)

A cabinet painting (or "cabinet picture") is a small painting, typically no larger than two feet (0.6 meters) in either dimension, but often much smaller. The term is especially used for paintings that show full-length figures or landscapes at a small scale, rather than a head or other object painted nearly life-size. Such paintings are done very precisely, with a great degree of "finish".

From the fifteenth century onward, wealthy collectors of art would keep these paintings in a cabinet, which was a relatively small and private room (often very small even in large houses) to which only those with whom they were on especially intimate terms would be admitted. A cabinet, also known as a closet, study (from the Italian studiolo), office, or by other names, might be used as an office or just a sitting room. Heating the main rooms in large palaces or mansions in the winter was difficult, so small rooms such as cabinets were more comfortable. They offered more privacy from servants or other household members and visitors. Typically, a cabinet would be for the use of a single individual; a large house might have at least two (his and hers) and often more. (Full article...)

Raking light, the illumination of objects from a light source at an oblique angle or almost parallel to the surface, provides information on the surface topography and relief of the artefact thus lit. It is widely used in the examination of works of art. (Full article...)

A range-finder painting, sometimes called range-finding painting, is a large landscape painting produced as a training device to help gunners improve their accuracy. Historically, the best-documented use of such paintings was in the United States during World War I. (Full article...)

In painting, accidentalism is the effect produced by accidental lights. (Full article...)

The depiction of night in paintings is common in Western art. Paintings that feature a night scene as the theme may be religious or history paintings, genre scenes, portraits, landscapes, or other subject types. Some artworks involve religious or fantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or an artificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes called nocturnes, or night-pieces, such as Rembrandt's The Night Watch, or the German Romantic Caspar David Friedrich's Two Men Contemplating the Moon of 1819.

In America, James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with the Tonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme. Frederic Remington used the term as well for his nocturne scenes of the American Old West. (Full article...)

Buon fresco (по-итальянски«истинно свежий») —фресковойживописи, при которой щелочестойкиепигменты, измельченные в воде, наносятся на влажнуюштукатурку.

Она отличается отfresco-secco(илиa secco) иfinto fresco, при которых краски наносятся на высохшую штукатурку. (Полная статья...)

A licked finish is a hallmark of French academic art. It refers to the process of smoothing the surface quality of a painting so that the presence of the artist's hand is no longer visible. It was codified by the French Academy in the eighteenth century in order to distinguish 'professional' art from that produced by amateurs.

Jean Auguste Dominique Ingres summed up the academic technique: "The brushstroke, as accomplished as it may be, should not be visible: otherwise, it prevents the illusion, immobilizes everything. Instead of the object represented, it calls attention to the process: instead of the thought, it betrays the hand." (Full article...)

Underdrawing is a preparatory drawing done on a painting ground before paint is applied, for example, an imprimatura or an underpainting. Underdrawing was used extensively by 15th century painters like Jan van Eyck and Rogier van der Weyden. These artists "underdrew" with a brush, using hatching strokes for shading, using water-based black paint, before underpainting and overpainting with oils. Cennino D'Andrea Cennini (14th century most likely) describes a different type of underdrawing, made with graded tones rather than hatching, for egg tempera.

In some cases, underdrawing can be clearly visualized using infrared reflectography because carbon black pigments absorb infrared light, whereas opaque pigments such as lead white are transparent with infrared light. Underdrawing in many works, for example, the Annunciation (van Eyck, Washington) or the Arnolfini Portrait, reveals that artists made alterations, sometimes radical ones, to their compositions. (Full article...)

Mineral painting or Keim's process, also known as stereochromy, is a mural or fresco painting technique that uses a water glass-based paint to maximize the lifetime of the finished work.

The name "stereochromy" was first used in about 1825 by Johann Nepomuk von Fuchs and Schlotthaurer. In the original technique, pigments were applied to plaster or stone and sealed with water glass to preserve and enhance the colors. The method was then improved in the 1880s by Adolf Wilhelm Keim and renamed mineral painting or Keim's process. (Full article...)

Glue-size is a painting technique in which pigment is bound (sized) to cloth (usually linen) with hide glue, and typically the unvarnished cloth was then fixed to the frame using the same glue. Glue-size is also known as distemper, though the term "distemper" is applied variously to different techniques. Glue-size was used because hide glue was a popular binding medium in the 15th century, particularly among artists of the Early Netherlandish period, who used it as an inexpensive alternative to oil. Although a large number of works using this medium were produced, few survive today, mainly because of the high perishability of linen cloth and the solubility of hide glue. Well-known and relatively well-preserved – though substantially damaged – the most notable examples include Quentin Matsys' Virgin and Child with Saints Barbara and Catherine (c. 1515–25) and Dirk Bouts' Entombment (c. 1440–55). In German the technique is known as Tüchleinfarben, meaning "small cloth colours", or Tüchlein, derived from the German word for “handkerchief” (i.e., “small cloth”). (Full article...)

Al-Qatt Al-Asiri (also called nagash painting or majlis painting), is a style of Arabic art, typically painted by women in the entrance to a home. It originated in the 'Asir Region of Saudi Arabia where the front parlour of traditional Arab homes typically contained wall paintings in the form of a mural or fresco with geometric designs in bright colors. Called nagash in Arabic, the wall paintings are often considered a mark of pride. In 2017 Al-Qatt Al-Asiri was inscribed on UNESCO's list of Intangible Cultural Heritage of Humanity. (Full article...)

Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer. It is frequently used to create the illusion of an open sky, such as with the oculus in Andrea Mantegna's Camera degli Sposi, or the illusion of an architectural space such as the cupola, one of Andrea Pozzo's frescoes in Sant'Ignazio, Rome. Illusionistic ceiling painting belongs to the general class of illusionism in art, designed to create accurate representations of reality. (Full article...)

Paint by number or painting by numbers kits are self-contained painting sets, designed to facilitate painting a pre-designed image. They generally include brushes, tubs of paint with numbered labels, and a canvas printed with borders and numbers. The user selects the color corresponding to one of the numbers then uses it to fill in a delineated section of the canvas, in a manner similar to a coloring book.

The kits were invented, developed and marketed in 1950 by Max S. Klein, an engineer and owner of the Palmer Paint Company in Detroit, Michigan, United States, and Dan Robbins, a commercial artist. When Palmer Paint introduced crayons to consumers, they also posted images online for a "Crayon by Number" version. (Full article...)

Watercolor (American English) or watercolour (British English; see spelling differences), also aquarelle (French: [akwaʁɛl]; from Italian diminutive of Latin aqua 'water'), is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork. Aquarelles painted with water-soluble colored ink instead of modern water colors are called aquarellum atramento (Latin for "aquarelle made with ink") by experts. However, this term has now tended to pass out of use.

The conventional and most common support—material to which the paint is applied—for watercolor paintings is watercolor paper. Other supports or substrates include stone, ivory, silk, reed, papyrus, bark papers, plastics, vellum, leather, fabric, wood, and watercolor canvas (coated with a gesso that is specially formulated for use with watercolors). Watercolor paper is often made entirely or partially with cotton. This gives the surface the appropriate texture and minimizes distortion when wet. Watercolor papers are usually cold-pressed papers that provide better texture and appearance with a weight at least 300 gsm (140 lb). Under 300 gsm (140 lb) is commonly not recommended for anything but sketching. Transparency is the main characteristic of watercolors. Watercolors can also be made opaque by adding Chinese white. This is not a method to be used in "true watercolor" (traditional). (Full article...)

A wash is a term for a visual arts technique resulting in a semi-transparent layer of colour. A wash of diluted ink or watercolor paint applied in combination with drawing is called pen and wash, wash drawing, or ink and wash. Normally only one or two colours of wash are used; if more colours are used the result is likely to be classified as a full watercolor painting.

The classic East Asian tradition of ink wash painting uses black ink in various levels of dilution. Historically associated with the four arts of the scholar-officials, the technique was often applied to landscapes in traditional Chinese, Japanese, and Korean painting. (Full article...)

Graffiti (singular graffiti or graffito, the latter only used in graffiti archeology) is writing or drawings made on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written "monikers" to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire.

Modern graffiti is a controversial subject. In most countries, marking or painting property without permission is considered vandalism. Modern graffiti began in the New York City subway system and Philadelphia in the early 1970s to the rest of the United States throughout the world. (Full article...)

In art, craft, and engineering, masking is the use of materials to protect areas from change, or to focus change on other areas. This can describe either the techniques and materials used to control the development of a work of art by protecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to be concealed from conscious attention.

The term is derived from the word mask, in the sense that it hides the face from view. (Full article...)

Theorem stencil, sometimes also called theorem painting or velvet painting, is the art of making stencils and using them to make drawings or paintings on fabric or paper.

A vogue for theorem stencil painting began in England at the turn of the 18th century and through the mid-1800s. The art was first taught to women in academies and boarding schools throughout colonial New England. It continued to be taught into the mid-1800s in many other areas. (Full article...)

Working in layers is a system for creating artistic paintings that involve the use of more than one layer of paint. (Full article...)

The depiction of night in paintings is common in Western art. Paintings that feature a night scene as the theme may be religious or history paintings, genre scenes, portraits, landscapes, or other subject types. Some artworks involve religious or fantasy topics using the quality of dim night light to create mysterious atmospheres. The source of illumination in a night scene—whether it is the moon or an artificial light source—may be depicted directly, or it may be implied by the character and coloration of the light that reflects from the subjects depicted. They are sometimes called nocturnes, or night-pieces, such as Rembrandt's The Night Watch, or the German Romantic Caspar David Friedrich's Two Men Contemplating the Moon of 1819.

In America, James Abbott McNeill Whistler titled works as nocturnes to identify those paintings with a "dreamy, pensive mood" by applying the musical term, and likewise also titled (and retitled) works using other music expressions, such as a "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition and to de-emphasize the narrative content. The use of the term "nocturne" can be associated with the Tonalist movement of the American of the late 19th century and early 20th century which is "characterized by soft, diffused light, muted tones and hazy outlined objects, all of which imbue the works with a strong sense of mood." Along with winter scenes, nocturnes were a common Tonalist theme. Frederic Remington used the term as well for his nocturne scenes of the American Old West. (Full article...)

Ink wash painting (simplified Chinese: 水墨画; traditional Chinese: 水墨畫; pinyin: shuǐmòhuà); is a type of Chinese ink brush painting which uses washes of black ink, such as that used in East Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are the pluralistic continuation of multiple historical traditions.

In China, Japan and, to a lesser extent, Korea, ink wash painting formed a distinct stylistic tradition with a different set of artists working in it than from those in other types of painting. In China especially it was a gentlemanly occupation associated with poetry and calligraphy. It was often produced by the scholar-official or literati class, ideally illustrating their own poetry and producing the paintings as gifts for friends or patrons, rather than painting for payment. (Full article...)

Graining is the practice of imitating wood grain on a non-wood surface, or on relatively undesirable wood surface, in order to give it the appearance of a rare or higher quality wood, thereby increase that surface's aesthetic appeal. Graining was common in the 19th century, as people were keen on imitating hard, expensive woods by applying a superficial layer of paint onto soft, inexpensive woods or other hard surfaces. Graining can be accomplished using either rudimentary tools or highly specialized tools. A specialized thick brush used for graining is often called a mottler. Fan brushes, floggers, softening brushes, texture combs and even fingers are used to create various effects. The painting is carried out in layers, with the first layer being a base. Today that is usually done with latex paint in a gold or orange or tan tone, depending on the type of wood the artist is aiming to imitat. A second layer of tempera or thinned paint is applied over the dry base, by means of a sponge or large inexpensive brush. During the 19th century, however, brushes were more commonly used. It can also be applied on bricks and brass, as is more common today.

Graining can also mean the production of any artificial texture on any surface. For example, in printing, making the smooth metal sheets used in modern printing processes coarse. A stoneworking equivalent of graining is marbling. (Full article...)

Spray painting is a painting technique in which a device sprays coating material (paint, ink, varnish, etc.) through the air onto a surface. The most common types employ compressed gas—usually air—to atomize and direct the paint particles.

Spray guns evolved from airbrushes, and the two are usually distinguished by their size and the size of the spray pattern they produce. Airbrushes are hand-held and used instead of a brush for detailed work such as photo retouching, painting nails, or fine art. Air gun spraying uses generally larger equipment. It is typically used for covering large surfaces with an even coating of liquid. Spray guns can be either automated or hand-held and have interchangeable heads to allow for different spray patterns. (Full article...)

Mineral painting or Keim's process, also known as stereochromy, is a mural or fresco painting technique that uses a water glass-based paint to maximize the lifetime of the finished work.

The name "stereochromy" was first used in about 1825 by Johann Nepomuk von Fuchs and Schlotthaurer. In the original technique, pigments were applied to plaster or stone and sealed with water glass to preserve and enhance the colors. The method was then improved in the 1880s by Adolf Wilhelm Keim and renamed mineral painting or Keim's process. (Full article...)

Mischtechnik or mixed technique is a term spanning various methods of layering paint, including the usage of different substances. The term gained popularity after Max Doerner's 1921 book The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters However, Doerner made some conclusions about the usage by painters and Mischtechnik which today are no longer considered completely accurate. (Full article...)

Industrial Painting is defined by the 1959 "Manifesto of Industrial Painting: For a unitary applied art", a text by Giuseppe Pinot-Gallizio which was originally published in Notizie Arti Figurative No. 9 (1959). A French translation was soon published in Internationale Situationniste no.3 (1959).

In May 1997, Molly Klein translated the original Italian-language version into English: (Full article...)

Giornata is an art term, originating from an Italian word which means "a day's work." The term is used in Buon fresco mural painting and describes how much painting can be done in a single day of work. This amount is based on the artist's past experience of how much they can paint in the many hours available while the plaster remains wet and the pigment is able to adhere to the wall. (Full article...)

As an art form, vitreography is a style of contained 3-dimensional scenes displayed in a shadow box frame. (Full article...)

Shigajiku (Japanese: 詩画軸, "poem-and-painting scrolls"), are a form of Japanese ink wash painting. These hanging scrolls depict poetic inscriptions at the top of the scroll and a painted image, usually a landscape scene, below. Buddhist monks of the gozan 五山 or Five Mountain monasteries of the early Muromachi Period (1336-1573) first introduced the poem-and-painting scrolls.

Shigajiku is a modern category given to the visual and literary culture of the Muromachi Period rooted in the Zen tradition. The most common visual aesthetic for shigajiku is a monochrome water and ink style of painting, suibokuga 水墨画, with only occasional traces of color throughout the scroll. (Full article...)

An airbrush is a small, air-operated tool that atomizes and sprays various media, most often paint, but also ink, dye, and foundation. Spray painting developed from the airbrush and is considered to employ a type of airbrush. (Full article...)