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Acrylic
Wash
Acrylic paint is fast-drying paint containing pigment suspension in acrylic polymer emulsion. Acrylic paints can be diluted with water, but become water-resistant when dry.
Acrylic artist paints may be thinned with water and used as washes in the manner of watercolor paints, but the washes are not re-hydration once dry. For this reason, acrylics do not lend themselves to color lifting techniques as do gum arabic based watercolor paints.
Stippling
Stippling is the creation of a pattern simulating varying degrees of solidity or shading by using small dots.
In a drawing or painting, the dots are made of pigment of a single color, applied with a pen or brush; the denser the dots, the darker the apparent shade—or lighter, if the pigment is lighter than the surface. This is similar to pointillism, which uses dots of different colors to simulate blended colors.
A wash is a painting technique in which a paint brush that is very wet with solvent and holds a small load of paint or ink is applied to a wet or dry support such as paper or primed or raw canvas.
With water-based media such as inks, acrylic paints, tempera paints or watercolor paints, a wet brush should be dipped into a pool of very wet and diluted paint.
With oil-based media such as oil paint, a similar technique as outlined above may be used, though instead of water the paint pool should be well diluted in solvent, such as turpentine or mineral spirits. The loaded brush should be applied to a dry or solvent soaked support. Because oil paint has a longer drying time than water-based media, brushing over or blending a wash can extend or even out the appearance of the wash.
Oil painting is the process of painting with pigments that are bound with a medium of drying oil. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. Different oils confer various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil.
Gouache
Watercolor
Gouache paint is similar to watercolor but modified to make it opaque. A binding agent, usually gum arabic, is present, just as in watercolor. Gouache differs from 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. This makes gouache heavier and more opaque, with greater reflective qualities.
Gouache generally dries to a different value than it appears when wet (lighter tones generally dry darker, while darker tones tend to dry lighter), which can make it difficult to match colors over multiple painting sessions.
Most 20th-century animations used it to create an opaque color with watercolor paint used for backgrounds, and gouache as "poster paint" is desirable for its speed and durability.
As with all types of paint, gouache has been used on some unusual papers or surfaces.
Watercolor paint consists of four principal ingredients:
pigments, natural or synthetic, mineral or organic;
gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;
additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and
solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.
Impasto is a technique used in painting, where paint is laid on an area of the surface (or the entire canvas) very thickly, usually thickly enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture, the paint appears to be coming out of the canvas.
Oil paint is most suitable to the impasto painting technique, due to its thickness and slow drying time. Acrylic paint can also be impastoed. Impasto is generally not possible in water color or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper.