| Tempera | In painting, pigment bound by egg yolk.
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| Pigment | For painting, the coloring agent.
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| Fresco | A wall painting. Wet fresco involves pigment applied to wet plaster. Dry fresco involves pigment applied to a dry wall. Wet fresco generally is much more enduring than dry fresco.
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| Oil painting | Artwork where the medium is pigment mixed with linseed oil, varnish, and turpentine.
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| Impasto | The painting technique of heavily applying pigment so as to create a three-dimensional surface.
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| Watercolor | For painting, pigment bound by a watersoluble adhesive, such as gum arabic.
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| Acrylic | In painting, pigment bound by a synthetic plastic substance, allowing it to dry much faster than oils.
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| Binder | The adhering agent for the various media of painting.
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| Line | A continuous marking made by a moving point on a surface.
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| Axis line | An imaginary line—generated by a visible line or lines—that helps determine the direction of the eye in any of the visual arts.
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| Hue | The name of a color. See saturation.
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| Saturation | The purity, vividness, or intensity of a hue.
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| Color value | Shading, the degree of lightness or darkness of a hue.
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| Primary colors | Red, yellow, and blue. See secondary colors.
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| Secondary colors | Green, orange, and violet. See primary colors.
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| Complementary colors | Colors that lie opposite to each other on the color wheel.
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| Texture | The surface "feel" of a material, such as "smooth" bronze or "rough" concrete.
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| Composition | The organization of the elements. See design.
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| Presentational immediacy | The awareness of something that is presented in its entirety with an "all-atonceness."
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