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Artistic techniques

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Tessellation

A tessellation of a flat surface is the tiling of a plane using one or more geometric shapes, called tiles, with no overlaps and no gaps. In mathematics, tessellations can be generalized to higher dimensions and a variety of geometries.

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Lithography

Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a metal plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a cheap method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material.

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Chekhov's gun

Chekhov's gun is a dramatic principle that states that every element in a story must be necessary, and irrelevant elements should be removed; elements should not appear to make "false promises" by never coming into play. The statement is recorded in letters by Anton Chekhov several times, with some variation:"Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there." "One must never place a loaded rifle on the stage if it isn't going to go off. It's wrong to make promises you don't mean to keep." Chekhov, letter to Aleksandr Semenovich Lazarev, 1 November 1889. Here the "gun" is a monologue that Chekhov deemed superfluous and unrelated to the rest of the play. "If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don't put it there." From Gurlyand's Reminiscences of A. P. Chekhov, in Teatr i iskusstvo 1904, No. 28, 11 July, p. 521.

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List of narrative techniques

A narrative technique is any of several specific methods the creator of a narrative uses to convey what they want—in other words, a strategy used in the making of a narrative to relay information to the audience and, particularly, to "develop" the narrative, usually in order to make it more complete, complicated, or interesting. Literary techniques are distinguished from literary elements, which exist inherently in works of writing.

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Collage

Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole.

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Etching

Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology, including circuit boards.

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Stained glass

The term stained glass can refer to coloured glass as a material or to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture. Modern vernacular usage has often extended the term "stained glass" to include domestic leadlight and objets d'art created from came glasswork exemplified in the famous lamps of Louis Comfort Tiffany.

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Printmaking

Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A print may be known as an impression. Printmaking is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.

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Opus vermiculatum

Opus vermiculatum is a method of laying mosaic tesserae to emphasise an outline around a subject. This can be of one or more rows and may also provide background contrast, eg as a shadow, sometimes with Opus tessellatum. The outline created is often light and offset by a dark background for greater contrast. The name opus vermiculatum literally means "worm-like work", and has been described as one of the most demanding and elaborate forms of mosaic work. Usually opus vermiculatum is meant to put emphasis on the main design and foreground details of a work, using a smooth and flowing halo-effect. Sometimes it was used only around the head of a figure. The tesserae used were often square but can be variously shaped.

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Opus tessellatum

Opus tessellatum is the Latin name for the normal technique of Greek and Roman mosaic, made from tesserae that are larger than about 4 mm. It is distinguished from the finer opus vermiculatum which used tiny tesserae, typically cubes of 4 millimetres or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. Opus tessellatum was used for larger areas and laid down at the final site. The two techniques were often combined, with small panels of opus vermiculatum called emblemata at the centre of a larger design in opus tessellatum. The tiny tesserae of opus vermiculatum allowed very fine detail, and an approach to the illusionism of painting. There was a distinct native Italian style of opus tessellatum using only black on a white background, which was no doubt cheaper than fully coloured work.

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Engraving

Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it with a burin. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving is one of the oldest and most important techniques in printmaking. Wood engraving is a form of relief printing and is not covered in this article.

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Water transfer printing

Water transfer printing, also known as immersion printing, water transfer imaging, hydro dipping, watermarbling, cubic printing, Hydrographics, or HydroGraphics, is a method of applying printed designs to three-dimensional surfaces. The resulting combinations may be considered decorative art or applied art. The hydrographic process can be used on metal, plastic, glass, hard woods, and various other materials.

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Decoupage

Decoupage or Découpage is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf and other decorative elements. Commonly, an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured papers. Each layer is sealed with varnishes until the "stuck on" appearance disappears and the result looks like painting or inlay work. The traditional technique used 30 to 40 layers of varnish which were then sanded to a polished finish.

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Lost-wax casting

Lost-wax casting is the process by which a duplicate metal sculpture is cast from an original sculpture. Intricate works can be achieved by this method.

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Woodcut technique

Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain. The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.