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Glossary

Word of the Day!

diffraction grating


Sheets of glass, plastic, or metal inscribed with grids whose lines or dots diffract any light directed at the gridded surface and break this light up into its color spectra so that the rays may be measured accurately.


ochres

Natural earths used to make pigments, especially yellowish tan.

offset printing

The printing process in which an inked image on a metal or paper plate is transferred to a smooth rubber cylinder and then to the paper.

See Also:  lithographyplanography

oil gilding

Also known as mordant gilding, this is attaching gold leaf to a non-absorbent surface which has been coated with a mordant size (an adhesive)-- either a slow-drying type containing linseed oil, or a quick-drying type sometimes called Japan gold size. The leaf must be applied only when the mordant size is no longer wet, but is somewhat sticky or tacky. If the surface is absorbent, it must first be sized with some kind of shellac, varnish, or paint. Oil gilding is generally easier than water gilding. One advantage is that oil gilding can be applied to wood or stone without first coating them with gesso. However, it cannot be burnished (water gilding can be), and it is not so long-lasting (the oil likely to darken or to show some other decay).

See Also:  fire gildinggilt

oil paint

Slow drying paint made when pigments are mixed with an oil, linseed oil being most traditional. The oil dries with a hard film, and the brilliance of the colors is protected. Oil paints are usually opaque and traditionally used on canvas.

oil stone

A stone used for sharpening and honing metal cutting tools.

See Also:  carvingchisel

oiling out

The practice of rubbing linseed or drying oil on the surface of a cured oil painting to even out the luster.

one-point perspective

A form of linear perspective in which all lines (describing straight edges that go from points nearer to points farther) appear to meet at a single point on the horizon.

opacity

The quality of being opaque. In painting, the power of a pigment to cover or obscure the surface to which it is applied.

opaque

Something that cannot be seen through; the opposite of transparent, although something through which some light passes would be described as translucent. (pr. oh-pake')

opaque projector

A device using a bright lamp, lens and mirrors to project an enlarged image of an opaque image or object onto a flat surface, usually so that its image may be traced. At the end of the 19th century, it replaced a somewhat similar device called a camera lucida, which had earlier replaced another called camera obscura. There are various other sorts of projectors also in use today.

open edition

A set of prints made in an unspecified or unlimited number of impressions.

orders of architecture

A system for classifying Classical architecture by the capital of a column. The three original types of orders are Doric, Ionic, and Corinthian, although the Tuscan, colossal, and Composite orders have also been added.

Example: Bramante's Tempietto, Rome, Italy, 1502, has a Tuscan colonnade.

organic

An irregular shape, or one that might be found in nature, rather than a regular, mechanical shape.

orichalcum

A yellow bronze, an alloy of copper and zinc, resembling gold when new. Its name comes from two Greek words: oros meaning mountain, and chalkos, brass. The Romans made two coins made of orichalcum: the sestertius and the dupondius.

origami

Originating in Japan, the art or process of folding paper into shapes, representing animals, for example. A decorative object made by folding paper. (pr. o-ri-gah'me)

ormolu

Bronze or brass which has been gold leafed and used in decorating certain styles of furniture, clock-cases, chandeliers, and jewelry. Ormolu is cast and chiseled, then finished with gold leaf.

ounce

A unit of dry as well as liquid measurement (in the US). To convert ounces (US dry) into grams, multiply by 28.3495; into pounds, divide by 16. To convert ounces (US fluid) into cubic inches, multiply by 1.80469; into liters, x 0.02957; into pints, x 0.0625; into tablespoons, x 2. Abbreviated oz.

overglaze

A decoration applied to a ceramic piece after glazing.

overlay

Something-- perhaps a layer of paint or some other material, such as wood veneer or gold leaf-- that is laid over or covers another surface. It may also be a transparent sheet like an acetate or cell containing images in some areas, which is placed atop another image to be incorporated into it.

See Also:  animationbleeding through

overpainting

A finishing layer of paint applied over another layer of paint, or underlayer, once it has dried.

See Also:  fat over leanglazepentimentoscumbledragging

oxidation firing

A glazing technique in which additional oxygen is introduced into a kiln while firing.

oxide

Any element combined with oxygen. Common rust is iron oxide, one of the most widely used colorants-- making red bricks red for example. Silver's oxide is more often referred to as tarnish. Bronze's is more often referred to as a patina. Pure gold cannot oxidize.

oz

Abbreviation for ounce.

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Latest Product Reviews

adiondacks inks are my second favorite inks. Actually I cannot compare Ranger or Adirondacks they are both easy to work with and inspires the artists. I am in a class and got hooked on alcohol painting with these products
- Betsy Troxler in Boone NC
I wish someone had written a review for me. So I am paying it forward! I purchased every single eraser on the market and I did extensive testing!!! I have to say, I found a review too late on You Tube by Owings Art called Eraser review. I highly recommend you watch the video! Don't just take my word for it! I could have saved myself all the hassle, time and money! The Faber-Castell DUST FREE white eraser is hands down the VERY, VERY BEST eraser I have ever used! I love that it does not produce crumbles that need to be brushed away with a drafter's brush. Instead you get neat rolls. This is the best eraser for me because I draw in graphite, colored pencil and compressed charcoal. The latter two are almost impossible to erase completely with any eraser on the market. And the Faber-Castell DUST-Free eraser will not erase them completely, but it does the best job of any eraser out there. Period! I have done my own independent tests on erasers in my sketchbook! I have not found anything that erases graphite, colored pencil or compressed charcoal better. I prefer the DUST FREE on colored pencil because it is much faster than the kneaded eraser, and gives me similar results. In addition, the Faber-Castell DUST FREE erased Prismacolor's col-erase pencils completely! It does the best on Prismacolor's Premier colored pencils too. And it does the best on compressed charcoal. Note, no eraser will get completely eraser colored pencils or compressed charcoal period!!! But this eraser does completely erase the Prismacolor col-erase pencils. (FYI I removed the pink eraser that is on the bottom of the Prismacolor col-erase pencil because it SUCKS!) If you are looking for an eraser for all four mediums graphite, Prismacolor col-erase, Prismacolor Premier colored pencil and compressed charcoal the Faber-Castell DUST FREE eraser beats the pants off the completion!!!!!!!!!!!!!!!! I tested Staedler's electric eraser, FACTIS, Pink Pearl, Prismacolor Magic Rub, Prismacolor Art Gum, General's art gum, Prismacolor Kneeded, Alvin Velvet Softie, Staedtler Mars, Pentel Hi-Polymer Clic, papermate Tuff stuff! Note: I now exclusively use only three erasers. The Faber-Castell Dust-free white, Pentel click and Papermate Tuff stuff eraser. I use the later two for fine detailed erasing with my graphite drawings, but they can not erase colored pencil or compressed charcoal as well as my Faber-Castell dust-free!
- Sun Beam in Dallas, TX
Thank you for the quick delivery of this wonderful drawing tool. I like to have yellow and blue on hand for transferring line work from tracing paper onto a canvas. I paint solid backgrounds shades and either one or thee other color will show up on any background, dark or light.
- Karen in Brook Park-Cleveland, Ohio

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