TIPI DI IDROPITTURE

Idropitture Acriliche "per Edilizia".  Idropitture di buona qualità impiegate nelle costruzioni. Non adatte per opere di pittura.

Colori Acrilici. Pitture solubili o dispersibili in acqua che essiccano formando una pellicola insolubile.Esse sono  composte da due parti: un polimero acrilico in emulsione (legante) e dal  pigmento.

Smalti e Pitture Alchidiche Smalti e pitture sciolte in solventi organici.

Pitture alla Caseina Pitture acquose molto caricate. Sono il tipo di pitture per artisti più rigide e più fragili.

Pitture Fluorescenti Pitture che riflettono più luce visibi di quella che ricevono. I colori svaniscono lentamente se eposti alla luce solare.

Colori a Guazzo (Gouache)  Colori ad acqua opachi.

Pitture a Interferenza "Colori Pearlescenti". Polimeri in emulsione in miscela con pigmenti costituiti da microscopiche scaglie di mica rivestite da Biossido di Titanio e altri ossidi tra i quali qualli di ferro. Quando vengono applicate su un colore scuro si vede il colore ad interferenza. Se applicate su un colore chiaro si vede il colore complementare. Il colore cambia al variare dell'angolo di osservazione.

Pitture Iridescenti "Pitture Metalliche sena metallo". Hanno la stessa struttura di quelle ad interferenza don l'additione di un colorante che assorbe la luce. I colori n tarnish.

Oil Paint Made of linseed oil (binder) and pigment. Soluble in oil based solvents (turpentine, mineral spirits)

Tempera Paint Water based paint that is redissolveable when dry. Best on rigid supports.

Watercolor Paint A waterbase paint, that is redissolveable when dry. The binder is Gum Arabic.

Acrylic Paint Water soluble paint that dries to an insoluble paint film. Composed of two parts, an acrylic polymer emulsion (binder) and pigment.

Basics Paint An economy paint made by Liquitex for students and beginner artists.

Interference Paint "Pearlescent Color". Polymer emulsion with titanium coated mica flakes. Painted over a dark color you see the labeled interference color. Painted over a light color you see the complimentary color. Color changes depending upon viewing angle.

Iridescent Paint "Metallic Paint with no metal". Same structure as Interference with addition of light absorbing colorants. Colors never tarnish.

Structural Paint A three dimensional, non-leveling paint made by Liquitex.

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PAINT TERMINOLOGY
Additives Any substance added to paint to impart valuable, physical or structural properties to the paint.

Covering power The extent of the area over which a given amount of liquid paint or varnish will
spread to give a satisfactory coating when appied in a normal layer.

Drag The surface tension of a paint (usually applied with a brush) along a surface.

Extenders An additive that increases the volume of paint, without changing color or opacity. Liquitex Matte Opaque Extenders (Jarpque and Gelex) are "true" extenders..

Fillers Mistakenly thought to be ALL additives to paint which increase volume without adding any intrinsic qualities to the paint. LIQUITEX PAINTS CONTAIN NO FILLERS. In truth, it is any substance which when mixed with pigment causes no appreciable change in shade or hue. Used largely as adulterants or cheapeners, many are used to impart valuable, physical or structural properties to paint. See additives.

Hiding Power Degree of opacity in paint or pigment. Ability to mask or conceal an underpainting.

Opacifiers Increase the opacity of paint. Inhibit the ability of light to pass through the paint.

Palette Assortment of limited group of colors chosen for use in painting.

Pigment Dry, powdery coloring agents which are mixed with binder to make paint.

Polymer Emulsion The binder for acrylic paints.

Saturation The degree of a color intensity or vividness.

Substrate Surface upon which any paint is applied.(canvas, paper, wood, etc.)

Thickeners Additives that change the viscosity (thickness) of paint.

Tinting Strength Tinting strength of a pigment refers to how strong a color it is. Measured by how much pigment it takes to change color to white.

Vehicle The liquid used as the carrier of pigments in paint. The binder in a paint. In Acrylic paint the vehicle is polymer emulsion.

Viscosity The thickness of a paint. Its ability to flow.

Viscous See Viscosity.

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PIGMENTS
Organic Pigments have carbon as a derivative. Originally extracted from plant or animal matter. Tend to be transparent.

Inorganic Pigments without carbon, such as cadmiums, cobalts, earth colors. Derived mostly from metals. Tend to be opaque, low value, low chroma, high opacity and chemicaly stable.

Natural Pigments occurring in nature. More consistent and least costly to produce. Can be organic or inorganic.

Synthetic Source of most pigments today. Formulated to mimic the effects of natural pigments. Can be organic or inorganic.

Natural/Organic Pigments of vegetable or animal origin. Generally not as lightfast, as high in chroma or as chemically stable in acrylic paint as synthetic pigments. i.e. Rose Madder, Alizarine Crimson.

Natural/Inorganic Generally pigments of low value, low chroma and high opacity. Chemically stable. i.e. Burnt & Raw Umber and Sienna.

Synthetic/Organic Pigments containing carbon. High chroma, transparent or translucent pigments. i.e. Napthol Red, Arylide Yellow.

Synthetic/Inorganic Pigments of low value, low chroma, high opacity, high lightfastness. i.e. Chromium Oxide Green, Red Oxide, Mars Black.

Cadmium Pigments that are synthetic/inorganic. Although naturally ocurring, they are processed in laboratory and are classified as Synthetic. Toxic in spray form.

Cadmium Hue

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ADDITIVES
Damar Varnish A petroleum distillate varnish used over a dried oil painting to affect its sheen.

Distilled Turpentine Used to thin oil paints. It is an acute toxic hazard.

Kopal (Copal) An additive for oil paint, used to promote drying.

Liquin A solvent used in oil painting, made from oil modified alkyd resin.

Medium An additive mixed into the paint to change the working characteristics of the paint, without decreasing its adhesion. Acrylic mediums change the paint so it can be used for a variety of techniques. (see Vehicle)

Mineral Spirits A petroleum distillate used to thin oil paints. It is an acute toxic hazard.

Solvent A material used to thin (dilute) paint.

Varnish A material painted over a dried painting to either change the reflective nature of
the color underneath (gloss, semi gloss, matte) or to give a protective coating (i.e. Liquitex Soluvar)

Vehicle The liquid part of a paint in which pigment is suspended.

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COLOR
Chroma See intensity.

Gloss Highest reflective surface. The most "shiny".

Hue (Label) When "Hue" is added to the name of a paint (i.e. Cadmium Red Hue) it is a color that is a mixture of pigments that simulate pure cadmium colors. "Hue" colors are less expensive and can be more lightfast than traditional pigments.

Hue: Munsell System Name of a family of color.

Intensity The brightness or strength of a color.

Matte The least reflective surface. The most "dull".

Munsell System Defines color as made up of three attributes - Hue, Value and Chroma.
- Chroma Brightness or intensity of a color.
- Hue Name of a family of color.
- Value Relative lightness of a color (light vs dark).

Opacity The degree to which a pigment obscures a substrate, or the degree to which light passes through the paint. Also known as "hiding power".

Opaque Best "hiding power". Best suited for coverage techniques.

Semi-gloss In-between gloss and matte.

Shading Changing the value of a color, usually by adding black.

Shade See shading.

Sheen The reflective quality of a dried paint surface.

Tinting Adding white to a color.

Tint See Tinting.

Transparent The least opaque paint. Least amount of "hiding power". Best suited for for glazing techniques.

Translucent In-between transparent and opaque. Suitable for glazing and other techniques.

Value Relative lightness of a color (light vs dark).

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COLOR TERMINOLOGY
Gloss Highest reflective surface. The most "shiny".

Intensity See Chroma.

Matte The least reflective surface. The most "dull".

Opacity The degree to which a pigment obscures a substrate, or the degree to which light passes through the paint. Also known as "hiding power".

Opaque Best "hiding power". Best suited for coverage techniques.

Semi-gloss In-between gloss and matte.

Shading Changing the value of a color, usually by adding black.

Shade See shading.

Sheen The reflective quality of a dried paint surface.

Tinting Adding white to a color.

Tint See Tinting.

Transparent The least opaque paint. Least amount of "hiding power". Best suited for for
glazing techniques.

Translucent In-between transparent and opaque. Suitable for glazing and other techniques.

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PAINTING TECHNIQUES
Glaze (Glazing) A mixture of (mostly) Gloss Medium & Varnish and (a little) paint. Used in acrylic painting techniques to create luminous color and depth.

Fresco A painting technique of applying paint to wet plaster. Used during the Italian Renaissance, i.e. The Last Supper, by Da Vinci.

Impasto A technique of painting with brush or palette knife using thick applications of paint, which stand out in relief.

Stippling A dry brush painting technique, using a stiff brush.

Tole Painting A Decorative Art Painting technique. Originally from Eastern Europe.

Underpainting The first layer (or first few layers) of a painting upon which the final imagery is painted. Often the underpainting is totally covered by the top layers.

Wash A mixture of (mostly) water and (a little) paint. Used in watercolor techniques.

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GESSO
Acrylic Gesso Acrylic polymer emulsion based with titanium dioxide and calcium carbonate. Contains sizing (polymer emulsion) and ground (titanium dioxide and calcium carbonate). Suitable for flexible supports.

Ground Provides surface upon which paint will adhere.

Priming The preparation of a surface upon which to paint using sizing and ground.

Primer See Priming.

Sizing Protects substrate (canvas) and provides receptive surface for ground.

Size See Sizing

True Gesso A sizing made of animal glue and calcium carbonate (inflexible supports)

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LIGHTFASTNESS
Lightfast Resisting fading on long exposure to sunlight. When applied to paint it means absolute permanence.

Lightfastness I Excellent lightfastness. No change for 100 years of museum light. Best for outdoor work.

Lightfastness II Very good lightfastness. Satisfactory for indoor applications.

Lightfastness III Fugitive lightfastness. Not recommended for permanent applications.

Fugitive Color A color made of pigment that is susceptible to fading when exposed to Ultraviolet Rays (sunlight).

Toxicity The degree with which a product will be hazardous to people or the environment.

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HEALTH LABELS
ACMI Art and Craft Materials Institute. Independently certifies materials for toxicity, performance and quality.

AP Nontoxic Certified nontoxic by an independent toxicological medical expert. No specific quality standards have been established. Nontoxic even if ingested.

ASTM D4236 Conforms to labeling for Chronic Health Hazard Standards.

ASTM 5098 Performance Standards for Acrylic Paints.

CP nontoxic Certified nontoxic by an independent toxicological medical expert. Meets or exceeds specific quality standards of material, workmanship, working qualities and color. Non toxic even if ingested.

HL Health Label Product has a heath hazard associated with it, and carries heath warnings. HL seal certifies product to be properly labeled.

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BRUSHES
Bright Used for short controlled strokes and impasto techniques.

Bristle Hair Made of hog bristles. Stiff hairs, suitable for oil paint and/or acrylic paint.

Fan Used for blending surface color.

Ferrule The metal wrapping on a brush that attaches the bristles to the handle. A Ferrule should be double crimped, seamless, double crimped with epoxy glue.

Filbert Used for thick to thin strokes without hard edges. Shaped like a flat or bright with rounded corners.

Flat Square end for broad, sweeping strokes. For painterly effects and backgrounds.

Handle Should be made of seasoned hardwood dowel, tapered at both ends.

Kolinsky Sable Highest quality brush. Made of the Male Tartar Martin (weasel). For watercolor, washes and fine detail.

Liner Produces continuous lines without reloading. Great control for rendering and lettering.

Mop Full bodied to hold lots of liquid. Used for washes.

Ox Hair Strong body, especially suited for oil paint or heavier colors.

Round Versatile. Good for thick to thin strokes and detail.

Sable Good quality. Made from female Tartar Martin, warmer climate.

Sabeliene Specialty treated silken lighter colored ox hair that resembles sable in working quality.

Script Elongated shape. Optimal control for lettering or line work.

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PAPER
Cold Press A type of watercolor paper. It has a rough finish.

Hot Press A type of watercolor paper. It has a smooth finish, due to being pressed with "hot" rollers during manufacture.

Tooth The surface of a sheet of paper, or the surface of a dried paint film or ground. (i.e. tooth of gesso), which assists in the application and bonding of subsequent coats of paint.

Vellum A type of paper.

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SOLVENTS
Alcohol Solvent used to degrease oily surface prior to acrylic paint application.

Mineral Spirits Oil based solvent. Used to thin oil paint and Soluvar.

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GENERAL TERMINOLOGY
Acetate Acetate is a transparent, somewhat brittle plastic available in varying thickness and surface textures.

Acetone A volatile, flammable liquid, C3H6O, used in paints and varnishes as a solvent. Dissolves acrylic paint. Can be used to clean dried acrylic paint from brushes and tools.

Acrylic paint Water based acrylic paint is composed of minute particles of plastic acrylic resin suspended in water (acrylic polymer emulsion) and pigment. As the water evaporates the resin particles fuse together forming a strong durable paint film.

Acrylic polymer emulsion Made from acrylic resins. It is the binder that gives acrylic paint its handling and durability characteristics.

Acrylic resin A polymer from which acrylic emulsions are made. High quality acrylic resin is a necessary component of high quality acrylic paint

Acrylic watercolor Acrylic watercolor is a technique where acrylic paint is diluted to the consistency of watercolor paint and applied to an absorbent surface. Color values are usually built from light to dark.

Approved Product Seal AP A product, which has been certified by ACMI to be non-toxic and properly labeled for toxicity. The AP Seal certifies the paint as non-toxic even if ingested. Nontoxic products may also receive an AP Seal if there are currently no performance standards for that product type.

Binder In acrylic paint, the binder is an acrylic polymer emulsion (made from acrylic resins). A component of paint. The binder gives paint its handling and durability characteristics.

Canvas A woven fabric often used as a substrate for painting. Canvas is made from cotton, linen, jute and natural or synthetic fibers. Canvas is sold by width and by weight. The weight describes the thickness of a canvas and refers to the weight of a square yard of the material. (One square yard of 10-ounce duck, for example, weighs 10 ounces.) Canvases are available pre-stretched on either standard or heavy-duty stretcher bars.

Carrageenan moss A size or suspension liquid on which paint floats for marbling techniques. Carragheen can be found in art stores and mail order. To make: Add 2-3 oz. moss (approx. 1/3 cup) to 3 quarts distilled water. Mix moss with 1 pint water in blender. Add to rest of 3 quarts and stir. Let stand 15-30 minutes. Pour into pan and leave for 30 minutes. If colors sink into size add a few drops of ox gall.

Chroma Intensity or brightness of hue. The purity of color or its freedom from white or gray.

Coldpress watercolor paper Heavy weight watercolor paper. Coldpress watercolor papers hold more water and warp less. Coldpress watercolor paper is rough and absorbent.

Collage Collage is a technique where materials of different sizes and weights are glued to a backing surface. The collage materials and backing surface determine the type of glue to be used. Liquitex® Acrylic Mediums are excellent glues for collage techniques. They provide easy, permanent, non-toxic adhering of most materials to any surface suitable for acrylic paint.

Certified Product Seal CP A product which is certified by ACMI to be non-toxic as well as both properly labeled for toxicity and meets certain quality and performance standards. The CP Seal certifies the paint as non-toxic even if ingested. This is the highest rating for nontoxicity and performance.

Cotton duck The most common canvas used and the most popular style.

Decoupage The art of decorating something with cutouts of paper, linoleum, plastic, or other flat material over which varnish or lacquer is applied.

This process allows artists to transfer images generated from magazines, newspapers, photographs and laser printers onto any surface that will accept acrylic paint. It can be done with a wide variety of Liquitex® Mediums depending upon your desired effect.

This technique transfers black & white and colored images. The medium is brushed, poured or troweled over the image to be transferred. After the medium has dried, it is soaked in water and the paper is removed from the back of the image. You are left with a transparent to translucent image that is imbedded within acrylic medium.

Denatured alcohol A type of alcohol used chiefly for a solvent.

Eggshell canvas surface Paper smooth canvas surface that is excellent for portrait and airbrush techniques.

False wall In mural painting, it is a wall erected in front of an existing wall. It eliminates the dangers inherent in expansion and contraction of plaster and masonry. It also protects against cracking, peeling and water damage and allows for easy removal of the mural.

The mural wall can also be a stretched canvas panel or canvas adhered to a rigid panel. A false
wall for interior murals allows the artist to paint the mural in the studio rather than on location.

Fine line detail A technique where color is applied in fine detail. Best results are achieved using Liquitex® Medium Viscosity Concentrated Artist Color and a soft, round brush. Additives that increase "open" time of paint and decrease surface friction aid in achieving detailed brush marks.

Flexibility The ability of a material to bend or twist. While Liquitex® acrylic colors and mediums will remain flexible over time, all acrylic paint films become increasingly brittle in cold weather. Do not flex, roll or unroll acrylic paintings in temperatures below 45 degrees.

Floorcloth painting Floorcloth paintings may be thought of as paintings on canvas that lie on the floor instead of hanging on the wall. Being placed on the floor subjects the painting surface to abrasion and dirt that a wall hanging does not encounter. Because of this, floorcloth paintings are prepared differently.

Fluorescent colors Liquitex® Fluorescent Acrylic Colors are intense, brilliant colors, produced from dyes surrounded by a polymer coating. The dyes absorb invisible ultraviolet light and emit visible light of a longer wavelength, reflecting more light than they receive. As a result, they fluoresce or glow and will visibly overpower paints made from traditional pigments.

Frisket Frisket films are sheets of thin (usually 3-mil) clear vinyl with a low tack adhesive on one side. A material that protects covered areas from overspray.
fugitive color. Colors that fade quickly and fall below the level of permanency for artist's colors. Not recommended
for permanent work.

Gesso A primer used as a surface preparation for painting. Liquitex® Gesso is the premium acrylic gesso used to prepare painting surfaces for acrylic and oil
paint.

Gouache Opaque watercolor. Remains rewettable when dry. The dry film is matte and somewhat brittle.

Gum tragacanth A size or suspension liquid on which paint floats for marbling techniques. Gum Tragacanth is available at art stores and by mail order.

Two ways to prepare mixture:
1. Mix one tablespoon gum tragacanth with one quart hot (not boiling) distilled water. A blender or mixer will speed up the mixing process. Let stand 24 hours. If air bubbles rise, wipe off with the edge of a strip of newspaper. Add another quart of water when ready to marble.
2. Fill an 8" x 10" x 2" deep pan with hot water. Sprinkle gum powder on top so that a fine layer covers surface (1 tsp. to 1-2 pints of water). Mix until powder is dissolved, repeat twice more. NOTE: Gum tragacanth doesn't sour as carrageenan does. Starch keeps for long periods.

Health Label Seal HL (Caution Required) A product which contains a material(s) in sufficient quantities that has the potential to cause an acute
or chronic health hazard. A full explanation of the above information is given in the Liquitex® "How to Mix and Use Color" book and the Liquitex® Product Catalog.

Hotpress watercolor paper Hot press watercolor paper is smooth and may not be as porous as coldpress. Mixing colors with Flow-AidTM flow enhancer medium will help to achieve deeper stains and a more even application.

Hue Color or variety of a color.

Liquitex Hue Colors Colors that contain the word "Hue" at the end of the color name. Single pigment or mixture of pigments that look and perform similar to the color they replace and are nontoxic on skin, if ingested or in mist.

Hues are used as replacements for cadmium, cobalt and other colors, when they are either unavailable, too expensive, fugitive or pose possible health hazards. Liquitex® Hue Colors generally yield higher
intensities than their target color.

Impasto A technique of painting with brush or palette knife using thick applications of paint which stand out in relief. Best results are achieved using Liquitex® High Viscosity Artist colors.

Interference colors Liquitex® Interference Colors are made from titanium coated mica flakes rather than traditional pigments. They are also known as "Opalescent Colors". They change their color (exhibiting a metallic look and color shift) depending upon the viewing angle. As the light hits the mica flakes it either bounces off directly, reflecting the labeled color, or passes through to another layer and bounces out at a different refractive index displaying the complementary color. The effect is visually similar to a thin coat of oil floating on water.

Iridescent paints Iridescent paints are also known as "metallic" paints that do not tarnish. They mimic the effect of bronzing powders. Bronzing powders can not be used with acrylic emulsions as they tarnish due to the alkalinity of the binder.

Irish moss tea A size or suspension liquid on which paint floats for marbling techniques. Irish Moss Tea is available in health food stores.

Two ways to prepare mixture:
1. Add 1 cup dried whole or 1 oz. ground moss to 2 quarts boiling water and cook 5 minutes. Stir constantly. Remove from heat and add 2 cups of cold water. Cover and set aside over night. Size must be room temperature for use.
2. Fill large pot with water and sprinkle moss on top until the surface is entirely covered. Bring to a boil and let cool overnight.

Jute canvas Used in applications that call for extreme texture, as well as lower price. Not considered a permanent surface and is too textural for most work. Just as with paper, surface texture is an important factor to consider when choosing a canvas.

Linen canvas Superior strength and longevity. Lacks the consistency or texture of cotton. Portrait quality linen has the finest and most consistent weave. Although linen is preferred as a "professional" surface, when used for acrylics, it offers little benefit over cotton. The high oil content of linen may make it less suitable for use with acrylic gesso and paint.

Liquigems Acrylic glitter paint. A high viscosity 100% acrylic polymer emulsion paint that contains a heavy concentration of mica flakes.

Marbling Marbling is a single print process, done by manipulating paint that is floated on the surface of a thickened water solution. The floating paint is then transferred from the water onto paper, fabric or any other porous surface.

Masking Protecting dry paint film from new paint application through the use of masking tapes and fluids.

Mediums Mediums allow artists to modify paint character and handling characteristics and thus use it in an infinite variety of techniques and applications.

Liquitex® Acrylic Mediums are made from 100% acrylic polymer emulsion that when dry form durable films. They can be thought of as colorless paint. They are the binder (glue) of acrylic paint and have excellent flexibility. They are also resistant to chemicals, water and ultraviolet radiation resistance. They are added to acrylic paint to alter the paint handling characteristics, appearance or volume, producing an infinite variety of effects.

Liquitex Mediums are available in different viscosities (low, medium, high, extra high) and sheens (gloss
and matte). They are all inter-mixable. They can function in a variety of applications and techniques. A
combination of several mediums may be necessary to achieve a desired effect or several mediums
may be used by themselves to achieve similar effects.

Mixed pigment colors Gives artists the benefit of pre-mixed, "custom" colors. Colors are brighter than can be mixed in studio, cuts down on color mixingand provides cost savings. Mixed pigment hue colors give artists the choice of using a huecolor as a replacement for the true or target color.

Mordant Prepares the surface of paper or fabric for quick adhesion of paint. Used in marbling.

To make:
1. Mix two tablespoons alum (available in grocery stores) with one pint of hot, distilled or soft water.
2. Mark one side of the paper or fabric. Turn over and sponge the cooled alum solution on the other unmarked side. The paper should be kept damp but not wet, although the fabric can be dry before printing. Construction paper doesn't need this treatment but all fabric does.

Munsell Color System An internationally recognized color system.

Mural painting Murals include a variety of techniques including fresco, encaustic, mosaic, stained glass and
photography. The type of mural of most interest to contemporary artists is either painting on canvas, which is then attached to a wall, or painting directly on the wall surface itself.

Mylar Mylar is a film that has all the properties and uses of acetate with additional flexibility and strength. Much higher in price than acetate, it does not stretch, crack or yellow and is also available with a photosensitive surface for the reproduction of line drawings.

Like acetate, mylar is available in a wet-media form that needs no surface preparation.

Opaque (O) color Based on the characteristics of the pigments used, opaque paint has the best "hiding power" or coverage.Duplicates gouache effects.

Open time Drying time of paint. Open time varies according to temperature, humidity, absorbency of surface and air flow above surface while working. Lightly misting surface with water during application will increase open time.

Permanency The ability of a color to withstand any color shifting or fading when exposed to ultraviolet light (i.e. sunlight). The lightfastness ratings of all Liquitex® colors are listed according to standards established by the American Society for Testing and Materials (ASTM).

Category I Excellent lightfastness. The color will exhibit no appreciable color change after the equivalent of 100 years of indoor museum exposure. Best suited for outdoor installations (murals).

Category II Very good lightfastness. Colors are suited for all indoor applications, but not exterior painting that may receive heavy exposure to ultra-violet light.

Category III Marginal permanence. "Fugitive" colors that may fall below the level of permanency for artist's colors. Not recommended for permanent work.

Pigment Dry, powdery materials that do not dissolve, but remain suspended when mixed with acrylic polymer emulsion. They are organic, inorganic, natural and synthetic. They have little or no affinity for the surface to which they are applied. A binder is necessary to adhere pigments to a painting surface and coalesce into a paint film.

Plexiglas Plexiglas is an acrylic sheet material manufactured in a variety of widths. When sanded, it will provide adequate surface tooth for acrylic paint. Both sides of the sheet can be painted to yield dimensional qualities.

Primer An application that seals and protects a surface for the application of paint. It is used in acrylic and oil painting.

Resin System Another term for acrylic polymer emulsion. All Liquitex® acrylic paints and mediums have been reformulated with a new, clear resin that produces the highest quality acrylic polymer emulsion ever made.

Rheology How sticky or slippery paint feels as it’s being applied to a substarte. The term "brush drag" refers to the rheology of the paint.

Single pigment color Offers artists the purest color, to be used alone or in color mixing. Includes cadmiums, cobalts,
quinacridones (ACRA®), phthalocyanine (phthalo) and other colors.

Size
1. Traditionally used in oil painting. Size prepares the surface for the application of the primer coat, to make it less absorbent. You do not prepare the surface with Size when you are going to use acrylic paint.
2. Size is used with acrylic paints as a "suspension mixture" for marbling techniques.


Substrate induced discoloration (SID) When acrylic mediums are used as a size for primed or unprimed cotton, linen, wood or hardboard, the water content may draw impurities out of the support as it dries. A yellow or brown discoloration in the medium may occur over time. It will only be noticeable in areas that are left unpainted. It occurs with all acrylic mediums currently used by major fine art paint manufacturers. Washing the canvas before use can greatly decrease or eliminate SID. It is not a problem if the mediums are mixed with paint or painted over.

Surface The surface, also known as the support or substrate, is the basic substructure of a painting. The type of surface chosen will depend somewhat on the painting style of the artist, the desired visual effect, the purpose of the work, required longevity and the media used.

Synthetic canvas Most uniform in texture, exceptionally strong and long-lasting. As temperature increases above 90 degrees Fahrenheit some synthetics do not maintain proper surface tension. This is temporary and the canvas usually returns to normal with lower temperatures.

Thinning To reduce concentration by adding an associated solvent. Thinning increases penetration and can make it easier to apply mediums and varnish. Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.

Translucent (TL) color Based on the characteristics of the pigments used, translucent color is in between transparent and opaque. Allows some light to pass through color.

Transparent (TP) color Based on the characteristics of the pigments used, transparent color has the least "hiding power". Allows underneath color to show through. Best suited for glazing and watercolor techniques.

Value The degree of lightness or darkness in a color.

Varnish A varnish is applied over dried paint to change or unify the surface sheen (gloss, matte, semi-gloss), protect the painting surface from the environment and protect color from ultraviolet light.

Varnishes may increase the color saturation of the finished painting. Varnishes may be used as a fixative to protect delicate art materials (charcoal and pastel).

Removable varnishes allow for ease of cleaning finished painting.

Viscosity The thickness or consistency of paints or mediums.

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