PAINTING GLOSSARYANTIQUE

Apply a watered-down application of paint, a glazeor Gel Stain to the surface. Wipe color off with a soft
cloth before stain dries, leaving more in recessed areas.

BLENDING

DRY BRUSHING

Touch the tips of brush bristles into paint and wipe
excess color off onto a paper towel. Using very lightpressure, skim the brush over the surface, building up
color gradually.

A gradual transition between two colors, that is usuallycreated when both paint colors are wet. This is often
the biggest issue with acrylics due to the quick dryingtime. Dry time extender added to paint will allow
more open time for blending.

GLAZE

BASE COAT

INTERFERENCE PAINT

A smooth application of paint covering the surface.
Allow paint to dry thoroughly between coats. Lightly
sand between coats for and super smooth basecoat.

CANVAS WEIGHT

Refers to how thick the canvas is, usually labelled inounces, 8oz, 10oz, 12oz. The choice of the weight ofthe canvas depends on the size of the painting andpersonal preference. When a painting gets any larger
than 6ft a 12oz weight is best because when stretching
the canvas you need to apply strong pressure to thecloth to get a tight drum like finish and the danger iswith a lighter weight canvas it can rip

CONSISTENCY

The thickness or thinness of paint, basically how thepaint ‘feels’ on the brush or canvas.

CURING

Paint may be dry to touch but require a longer time
to cure all the way through. This especially importantwhen baking painted glassware. If paint has not cured
completely, moisture that may be trapped under theoutside layer will expand when heated causing thepaint to blister and ultimately peel. Also, varnishingover a painted surface that has not completely cured
may result in a cloudy finish.

A thin layer of paint used to optically affect the color
underneath. The underlying color is already dry when
the glaze is applied to add depth of color and help fusehard edges.

When viewed from different angles the paint appears
differently. Painted over a dark color you can see one
color, paint the same color over a light backgroundand you see the complementary color. Add a verysmall amount of black to Interference colors to
produce deeper, richer, opalescent effects.

LOAD (PIGMENT)

Refers to how strong the pigment is. Artist quality
paints have a stronger color and can be described ashaving a ‘high pigment load‘. It describes the amountof pigment in the paint, compared to the amount ofbinder or other additives in the paint. Each paint has
its own maximum pigment load as some pigment needmore binder added to them just to be able to mix theraw material into a usable paint consistency.

OPAQUEA pigment that doesn’t allow light through, as opposed
to “Transparent” which is the opposite, and does let
light through.

PIGMENTThis describes the raw material that all paints are
made from. Natural or synthetic materials are finely
ground and mixed with a liquid binder into a paste tomake paint.

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SPATTERWASH

STIPPLEWET INTO WET

Thin paint to consistency of cream. Dip an old
toothbrush into the paint, hold the toothbrush overthe piece and run your fingers through the bristles torelease paint.

Load the tips of an old scruffy brush or stiff bristledbrush with paint. Dab excess paint off onto a paper
towel. Pounce brush onto the surface using an up-anddown motion.

Thin paint with 50%-60% water. Brush onto surface
and allow to dry. Repeat for additional color. Thistechnique allows the wood grain to show while
creating a weathered effect.

Basecoat an area and while it is still wet, apply anothercolor next to or on top of the base color. Lightly blend
the two colors together.

TRANSPARENT

A pigment that allows light through, as opposed to“Opaque” which is the opposite, and does not let lightthrough.

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