Painting

Painting is the application of pigments to a support surface that establishes an image, design or decoration. In art the
term “painting” describes both the act and the result. Most painting is created with pigment in liquid form and applied
with a brush. Exceptions to this are found in Navajo sand painting and Tibetan mandala painting, where powdered
pigments are used. Painting as a medium has survived for thousands of years and is, along with drawing and
sculpture, one of the oldest creative media. It’s used in some form by cultures around the world.

Three of the most recognizable images in Western art history are paintings: Leonardo da Vinci’s Mona Lisa, Edvard
Munch’s The Scream and Vincent van Gogh’s The Starry Night. These three art works are examples of how
painting can go beyond a simple mimetic function, that is, to only imitate what is seen. The power in great painting is
that it transcends perceptions to reflect emotional, psychological, even spiritual levels of the human condition.

Painting media are extremely versatile because they can be applied to many different surfaces (called supports)
including paper, wood, canvas, plaster, clay, lacquer and concrete. Because paint is usually applied in a liquid or
semi-liquid state it has the ability to soak into porous support material, which can, over time, weaken and damage it. 
To prevent this a support is usually first covered with a ground, a mixture of binder and chalk that, when dry, creates
a non-porous layer between the support and the painted surface. A typical ground is gesso.

There are six major painting media, each with specific individual characteristics:

 Encaustic
 Tempera
 Fresco
 Oil
 Acrylic
 Watercolor

All of them use the following three basic ingredients:

 Pigment
 Binder
 Solvent (also called the “vehicle”)

Pigments are granular solids incorporated into the paint to contribute color. The binder is the actual film-forming
component of paint. The binder holds the pigment until it’s ready to be dispersed onto the surface.
The solvent controls the flow and application of the paint. It’s mixed into the paint, usually with a brush, to dilute it to
the proper viscosity, or thickness, before it’s applied to the surface. Once the solvent has evaporated from the surface
the remaining paint is fixed there. Solvents range from water to oil-based products like linseed oil and mineral spirits.

Let’s look at each of the six main painting media:

1. Encaustic paint mixes dry pigment with a heated beeswax binder. The mixture is then brushed or spread across a
support surface. Reheating allows for longer manipulation of the paint. Encaustic dates back to the first century C.E.
and was used extensively in funerary mummy portraits from Fayum in Egypt. The characteristics of encaustic painting
include strong, resonant colors and extremely durable paintings. Because of the beeswax binder, when encaustic
cools it forms a tough skin on the surface of the painting. Modern electric and gas tools allow for extended periods of
heating and paint manipulation.

Below is an example of encaustic painting by José María Cano.

José María Cano, detail of painting made in encaustic, 2010

2. Tempera paint combines pigment with an egg yolk binder, then thinned and released with water. Like encaustic,
tempera has been used for thousands of years. It dries quickly to a durable matte finish. Tempera paintings are
traditionally applied in successive thin layers, called glazes, painstakingly built up using networks of cross hatched
lines. Because of this technique tempera paintings are known for their detail.

Duccio, The Crevole Madonna, c. 1280. Tempera on board Museo dell’Opera del Duomo, Siena, Italy. Image is in the public domain

In early Christianity, tempera was used extensively to paint images of religious icons. The pre-Renaissance Italian
artist Duccio (c. 1255 – 1318), one of the most influential artists of the time, used tempera paint in the creation of The
Crevole Madonna  (above). You can see the sharpness of line and shape in this well-preserved work, and the detail
he renders in the face and skin tones of the Madonna (see the detail below).
Duccio, The Crevole Madonna (detail), c. 1280. Tempera on board. Museo dell’Opera del Duomo, Siena, Italy. Image is in the public domain

Contemporary painters still use tempera as a medium. American painter Andrew Wyeth (1917-2009) used tempera to
create Christina’s World, a masterpiece of detail, composition and mystery.

3. Fresco painting is used exclusively on plaster walls and ceilings. The medium of fresco has been used for
thousands of years, but is most associated with its use in Christian images during the Renaissance period in Europe.

There are two forms of fresco: Buon or “wet,”and secco, meaning “dry.”

Buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh lime mortar or
plaster. The pigment is applied to and absorbed by the wet plaster; after a number of hours, the plaster dries and
reacts with the air: it is this chemical reaction that fixes the pigment particles in the plaster. Because of the chemical
makeup of the plaster, a binder is not required. Buon fresco is more stable because the pigment becomes part of the
wall itself.

Domenico di Michelino’s Dante and the Divine Comedy from 1465 (below) is a superb example of buon fresco. The
colors and details are preserved in the dried plaster wall. Michelino shows the Italian author and poet Dante Aleghieri
standing with a copy of the Divine Comedy open in his left hand, gesturing to the illustration of the story depicted
around him. The artist shows us four different realms associated with the narrative: the mortal realm on the right
depicting Florence, Italy; the heavenly realm indicated by the stepped mountain at the left center – you can see an
angel greeting the saved souls as they enter from the base of the mountain; the realm of the damned to the left – with
Satan surrounded by flames greeting them at the bottom of the painting; and the realm of the cosmos arching over
the entire scene.
Domenico di Michelino, Dante’s Divine Comedy, 1465, buon fresco, the Duomo, Florence, Italy. This image is in the public domain

Secco fresco refers to painting an image on the surface of a dry plaster wall. This medium requires a binder since the
pigment is not mixed into the wet plaster. Egg tempera is the most common binder used for this purpose. It was also
common to use secco fresco over buon fresco murals in order to repair damage or make slight changes to the
original.

Leonardo Da Vinci’s painting of The Last Supper  (below) was done using secco fresco. Because this was painted on
a dry plastered wall, the pigments are only on the surface, not part of the wall like a true fresco. As you’ll notice in Da
Vinci’s painting, the paint is faded and flaking off as a result.

Leonardo Da Vinci, The Last Supper, 1495–98, dry fresco on plaster. Church of Santa Maria delle Grazie, Milan. This image is in the public domain

4. Oil paint is the most versatile of all the painting media. It uses pigment mixed with a binder of linseed oil. Linseed
oil can also be used as the vehicle, along with mineral spirits or turpentine. Oil painting was thought to have
developed in Europe during the fifteenth century, but recent research on murals found in Afghanistan caves show oil
based paints were used there as early as the seventh century.
Some of the qualities of oil paint include a wide range of pigment choices, its ability to be thinned down and applied in
almost transparent glazes as well as used straight from the tube (without the use of a vehicle), built up in thick layers
called impasto (you can see this in many works by Vincent van Gogh). One drawback to the use of impasto is that
over time the body of the paint can split, leaving networks of cracks along the thickest parts of the painting. Because
oil paint dries slower than other media, it can be blended on the support surface with meticulous detail. This extended
working time also allows for adjustments and changes to be made without having to scrape off sections of dried paint.

In Jan Brueghel the Elder’s still life oil painting you can see many of the qualities mentioned above. The richness of
the paint itself is evident in both the resonant lights and inky dark colors of the work. The working of the paint allows
for many different effects to be created, from the softness of the flower petals to the reflection on the vase and the
many visual textures in between.

Richard Diebenkorn’s  Cityscape #1  from 1963 shows how the artist uses oil paint in a more fluid, expressive
manner. He thins down the medium to obtain a quality and gesture that reflects the sunny, breezy atmosphere of a
California morning. Diebenkorn used layers of oil paint, one over the other, to let the under painting show through and
a flat, more geometric space that blurs the line between realism and abstraction.

Jan Brueghel the Elder, Flowers in a Vase, 1599. Oil on wood. Kunsthistorisches Museum, Wien, Germany. Used under GNU Documentation

Licensing

Georgia O’Keeffe’s oil paintings show a range of handling between soft and austere to very detailed and evocative.
You rarely see her brushstrokes, but she has a summary command of the medium of oil paint.
The abstract expressionist painters pushed the limits of what oil paint could do. Their focus was in the act of painting
as much as it was about the subject matter. Indeed, for many of them there was no distinction between the two.
The work of Willem de Kooning leaves a record of oil paint being brushed, dripped, scraped and wiped away all in a
frenzy of creative activity. This idea stays contemporary in the paintings of Celia Brown.

5. Acrylic paint was developed in the 1950’s and became an alternative to oils. Pigment is suspended in an acrylic
polymer emulsion binder and uses water as the vehicle. The acrylic polymer has characteristics like rubber or plastic.
Acrylic paints offer the body, color, and durability of oils without the expense, mess and toxicity issues of using heavy
solvents to mix them. One major difference is the relatively fast drying time of acrylics. They are water soluble, but
once dry become impervious to water or other solvents.  Moreover, acrylic paints adhere to many different surfaces
and are extremely durable. Acrylic will not crack or yellow over time.

The American artist Robert Colescott (1925-2009) used acrylics on large-scale paintings. He uses thin layers of
underpainting, scumbling, high-contrast colors, and luscious surfaces to bring out the full range of effects that
acrylics offer.

6. Watercolor is the most sensitive of the painting media. It reacts to the lightest touch of the artist and can become
an over worked mess in a moment. There are two kinds of watercolor media: transparent and opaque. Transparent
watercolor operates in a reverse relationship to the other painting media. It is traditionally applied to a paper support,
and relies on the whiteness of the paper to reflect light back through the applied color (see below), whereas opaque
paints (including opaque watercolors) reflect light off the skin of the paint itself. Watercolor consists of pigment and a
binder of gum arabic, a water-soluble compound made from the sap of the acacia tree. It dissolves easily in water.

Image by Christopher Gildow. Used here with permission.

Watercolor paintings hold a sense of immediacy. The medium is extremely portable and excellent for small format
paintings. Transparent watercolor techniques include the use of wash; an area of color applied with a brush and
diluted with water to let it flow across the paper. Wet-in-wet painting allows colors to flow and drift into each other,
creating soft transitions between them. Dry brush painting uses little water and lets the brush run across the top
ridges of the paper, resulting in a broken line of color and lots of visual texture.
Examples of watercolor painting techniques: on the left, a wash. On the right, dry brush effects. Image by Christopher Gildow. Used here with

permission.

John Marin’s Brooklyn Bridge (1912) shows extensive use of wash. He renders the massive bridge almost invisible
except for the support towers at both sides of the painting. Even the Manhattan skyline becomes enveloped in the
misty, abstract shapes created by washes of color.

Boy in a Red Vest by French painter Paul Cezanne builds form through nuanced colors and tones. The way the
watercolor is laid onto the paper reflects a sensitivity and deliberation common in Cezanne’s paintings.
Paul Cezanne, Boy in a Red Vest, c. 1890. Watercolor on paper. This image is licensed under the GNU Free Documentation License

The watercolors of Andrew Wyeth indicate the landscape with earth tones and localized color, often with dramatic
areas of white paper left untouched. Brandywine Valley is a good example.

Opaque watercolor, also called gouache, differs from transparent watercolor in that the particles are larger, the ratio
of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. Because of
this, gouache paint gives stronger color than transparent watercolor, although it tends to dry to a slightly lighter tone
than when it is applied. Like transparent watercolor, dried gouache paint will become soluble again in water.

Gouache is a medium in traditional painting from other cultures, too. Zal Consults the Magi, part of an illuminated
manuscript form sixteenth-century Iran, uses bright colors of gouache along with ink, silver and gold to construct a
vibrant composition full of intricate patterns and contrasts. Ink is used to create lyrical calligraphic passages at the top
and bottom of the work.

Other painting media used by artists include the following:

Enamel paints form hard skins typically with a high-gloss finish. They use heavy solvents and are extremely durable.

Powder coat paints differ from conventional paints in that they do not require a solvent to keep the pigment and
binder parts in suspension. They are applied to a surface as a powder then cured with heat to form a tough skin that
is stronger than most other paints. Powder coats are applied mostly to metal surfaces.

Epoxy paints are polymers, created mixing pigment with two different chemicals: a resin and a hardener. The
chemical reaction between the two creates heat that bonds them together. Epoxy paints, like powder coats and
enamel, are extremely durable in both indoor and outdoor conditions.

These industrial grade paints may also be used in sign painting, marine environments, and aircraft painting.
Art is the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture,
producing works to be appreciated primarily for their beauty or emotional power. "the art of the Renaissance". The various branches of
creative activity, such as painting, music, literature, and dance."the visual arts"

Art is generally understood as any activity or product done by people with a communicative or aesthetic purpose—
something that expresses an idea, an emotion or, more generally, a world view. It is a component of culture,
reflecting economic and social substrates in its design.

Art is a creative activity that expresses imaginative or technical skill. It produces a product, an object. Art is a diverse
range of human activities in creating visual, performing artifacts, and expressing the author's imaginative mind. The
product of art is called a work of art, for others to experience.

PURPOSE

Art is a creative activity that expresses imaginative or technical skill. It produces a product, an object. Art is a diverse
range of human activities in creating visual, performing artifacts, and expressing the author's imaginative mind. The
product of art is called a work of art, for others to experience.

PAINTING

Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base
with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term painting describes both the act
and the result of the action.

Painting is the practice of applying paint, pigment, color or other medium to a surface. ... In art, the
term painting describes both the act and the result of the action.

WHY PAINTING IS AN ART

Painting is the practice of applying paint, pigment, color or other medium to a surface. ... In art, the
term painting describes both the act and the result of the action.

ELEMENTS OF ART

Elements of art are stylistic features that are included within an art piece to help the artist communicate. [1] The seven most common
elements include line, shape, texture, form, space, colour and value, with the additions of mark making, and materiality. [1][2] When analyzing
these intentionally utilized elements, the viewer is guided towards a deeper understanding of the work.

Line
Lines are marks moving in a space between two points whereby a viewer can visualize the stroke movement, direction, and intention based
on how the line is oriented.[1][2] Lines describe an outline, capable of producing texture according to their length and curve.[3] There are
different types of lines artists may use, including, actual, implied, vertical, horizontal, diagonal and contour lines, which all have different
functions.[3] Lines are also situational elements, requiring the viewer to have knowledge of the physical world in order to understand their
flexibility, rigidity, synthetic nature, or life. [1]

Shape
A shape is a two-dimensional design encased by lines to signify its height and width structure, and can have different values of color used
within it to make it appear three-dimensional.[2][4] In animation, shapes are used to give a character a distinct personality and features, with the
animator manipulating the shapes to provide new life. [1] There are different types of shapes an artist can use and fall under either
geometrical, defined by mathematics, or organic shapes, created by the artist. [3][4] Simplistic, geometrical shapes include circles, triangles and
squares, and provide a symbolic and synthetic feeling, whereas acute angled shapes with sharp points are perceived as dangerous shapes.
[1]
 Rectilinear shapes are viewed as dependable and more structurally sound, while curvilinear shapes are chaotic and adaptable. [1]
Form
Form is a three-dimensional object with volume of height, width and depth.[2] These objects include cubes, spheres and cylinders. [2] Form is
often used when referring to physical works of art, like sculptures, as form is connected most closely with three-dimensional works.. [5]

Color
Color is an element consisting of hues, of which there are three properties: hue, chroma or intensity, and value. [3] Color is present when light
strikes an object and it is reflected back into the eye, a reaction to a hue arising in the optic nerve. [6] The first of the properties is hue, which is
the distinguishable color, like red, blue or yellow. [6] The next property is value, meaning the lightness or darkness of the hue. [6] The last is
chroma or intensity, distinguishing between strong and weak colors. [6] A visual representation of chromatic scale is observable through the
color wheel that uses the primary colors.[3]

Space
Space refers to the perspective (distance between and around) and proportion (size) between shapes and objects and how their relationship
with the foreground or background is perceived. [3][7] There are different types of spaces an artist can achieve for different effect. Positive
space refers to the areas of the work with a subject, while negative space is the space without a subject. [7] Open and closed space coincides
with three-dimensional art, like sculptures, where open spaces are empty, and closed spaces contain physical sculptural elements. [7]

Texture
Texture is used to describe the surface quality of the work, referencing the types of lines the artist created. [1] The surface quality can either be
tactile (real) or strictly visual (implied).[3] Tactile surface quality is mainly seen through three-dimensional works, like sculptures, as the viewer
can see and/or feel the different textures present, while visual surface quality describes how the eye perceives the texture based on visual
cues.[8]

Value

The scale between dark (black) and light (white) values.

Value refers to the degree of perceivable lightness of tones within an image. [2] The element of value is compatible with the term luminosity,
and can be "measured in various units designating electromagnetic radiation".[7] The difference in values is often called contrast, and
references the lightest (white) and darkest (black) tones of a work of art, with an infinite number of grey variants in between. [7] While it is most
relative to the greyscale, though, it is also exemplified within colored images. [3]

Mark making and materiality

Mark making is the interaction between the artist and the materials they are using. [1] It provides the viewer of the work with an image of what
the artist had done to create the mark, reliving what the artist had done at the time. [1] Materiality is the choice of materials used and how it
impacts the work of art and how the viewer perceives it.

Elements of Art
The elements of art are the building blocks used by artists to create a work of art.

Line is a mark with greater length than width. Lines can be horizontal, vertical, or diagonal; straight or
curved; thick or thin.
Shape is a closed line. Shapes can be geometric, like squares and circles; or organic, like free-form or
natural shapes. Shapes are flat and can express length and width.
Forms are three-dimensional shapes expressing length, width, and depth. Balls, cylinders, boxes, and
pyramids are forms.
Space is the area between and around objects. The space around objects is often called negative space;
negative space has shape. Space can also refer to the feeling of depth. Real space is three-dimensional;
in visual art, when we create the feeling or illusion of depth, we call it space.
Color is light reflected off of objects. Color has three main characteristics: hue (the name of the color,
such as red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is).
• White is pure light; black is the absence of light.
• Primary colors are the only true colors (red, blue, and yellow). All other colors are mixes of primary
colors.
• Secondary colors are two primary colors mixed together (green, orange, violet).
• Intermediate colors, sometimes called tertiary colors, are made by mixing a primary and secondary
color together. Some examples of intermediate colors are yellow green, blue green, and blue violet.
• Complementary colors are located directly across from each other on the color wheel (an arrangement
of colors along a circular diagram to show how they are related to one another). Complementary pairs
contrast because they share no common colors. For example, red and green are complements, because
green is made of blue and yellow. When complementary colors are mixed together, they neutralize each
other to make brown.
Texture is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard.
Textures do not always feel the way they look; for example, a drawing of a porcupine may look prickly,
but if you touch the drawing, the paper is still smooth.
Line- Line is defined as a point moving in space where its length is greater than its width. Lines can be two or three
dimensional, implied or abstract. Different types of lines include continuous, broken, jagged, vertical, horizontal, or
diagonal. Lines are the foundation of drawing.

Color- There are three different components to color, there is hue which is the name we give the color (red, yellow,
blue, etc.), intensity, which refers to the vividness of the color (intensity can also be referred to as saturation or purity),
and value meaning how dark or light a color is. Color can be used symbolically or to produce a pattern or to show
contrast in a piece.

Value- Value is the lightness or darkness in color. The lightest value is white and the darkest value is black. The
difference between values is contrast. You can study the use of value in monochromatic or black and white pieces of
art.

Shape- Shape is the result of closed lines, they are two dimensional and flat. Shapes can be geometric, such as squares
or triangles or they can be organic and not have defined parameters and are more curved and abstract. Shapes in art can
be used to control how the viewer perceives a piece.

Form- When shape acquires depth and becomes three dimensional, it takes on form. Three-dimensional art has an
actual form (like in architecture) while two-dimensional pieces can have the illusion of form when the artist uses
perspective or shading. Some common forms are cones, pyramids, spheres, and cubes.

Space- Space is any area an artist creates for a specific purpose. Space can be positive or negative. Positive space is an
area occupied by an object or form. Negative space is the area that runs between, through, and around or within objects.
This includes background, foreground, and middle ground. Space that can be manipulated in art based on how an artist
uses lines, shape, form, and color.

Texture- Texture is how an object looks or feels. Sometimes texture can actually felt, such as in sculpture or the texture
of work can be implied such as if you were to sketch a sheep’s wool. Some words to describe texture include soft, hard,
rough, brittle, fluffy, or smooth.
Color Wheel Chart
 For me, art has element of skill, just like learning to play basketball has techniques. If you never
learn those basic skills and steps, then, of course, you will have limited skills! But, if you incorporate
those techniques, and if you practiced, learned those skills, you will become more skillful. Some people
are blessed with abilities that others don’t have. All of the talent in the world won’t get you anywhere if
you aren’t willing to work hard, push yourself and try new approaches. I believe that anyone could draw;
it’s the effort that counts. Let’s say for example if you have a passion for art where you’re willing to do
anything in order to get better, but if you’re lazy with consistency and not making a habit for drawing
then you’re never going to improve. You have to make the first move and improve yourself as an artist
that is what I believe. No one is born with talent, it’s made. So that I believe, Art is a skill.

The Starry Night, a moderately abstract landscape

painting (1889) of an expressive night sky over a small hillside village, one
of Dutch artist Vincent van Gogh’s most celebrated works. In Starry Night
contoured forms are a means of expression and they are used to convey
emotion. Many feel that van Gogh´s turbulent quest to overcome his illness
is reflected in the dimness of the night sky. The village is painted with dark
colors but the brightly lit windows create a sense of comfort.

Starry Night is one of my favorite painting ever. Because of it’s style, the
combination of colors and the whole painting. In my 1st year in college we
have a course which is Art app that explains everything about art. And we
encountered Starry Night which is painted by Vincent Van Gogh, I didn’t
expected the real story behind this painting. This artwork done by him
before he committed suicide. His mental illness is one of the reason why he
did this artwork. He truly express what he felt. This artwork truly has an
impact to me because it represents sadness, we were gonna think what is
the real reason why he did this? Is he sad? Like that, so I think in this
painting I relate myself because when im sad I honestly do an art.
Specifically writing a story or poems. Whether the real reason behind this
artwork is sadness, yet it still one of my favorite painting ever. Because it
truly represents that art is the expression of one another’s feeling,
emotions, experiences and etc. By doing an art we let our self to feel happy,
and refreshed.