PAINTING:
Oil:
Oil paint is a slow drying paint that is created by mixing pigments with oil, linseed oil being the most traditional. Oil paints are usually opaque and never dry fully, but rather develop a hard film. Since the sixteenth century oil painting on canvas has been a standard medium for artists as it can be easily manipulated and has great flexibility, making it possible for an artist to achieve a layered or smooth, rich coloured canvas.

Watercolour:
Watercolours are translucent water-based paints. The technique is based on the transparent or glaze system of pigmentation that utilises the colour of the paper for its whites and pale tints.

Acrylic:
This painting medium was developed in the middle of the twentieth century. Acrylic is a type of synthetic resin based on polymer colours and the paint is made by dispersing pigment in an acrylic emulsion. The artist can thin these colours with water, but when they dry the resin particles coalesce to form a tough, flexible, rubbery film that is impervious to water. This paint is popular because it dries quickly enabling an artist to work over a previously painted area almost immediately. Although acrylics lack the manipulative qualities of oils and watercolours, artists can produce a matt, semi-matt or glossy finish by mixing them with the appropriate mediums.

Gouache:
Gouache is an opaque watercolour, but is different from transparent watercolour in that it has a definite, appreciable film thickness and creates an actual paint layer. It has a brilliant light-reflecting quality and is most popularly used in a high chromatic key or in strong contrasting values.

SCULPTURE
Carving:
Carving is a reductive or subtractive technique in which the artist removes the material through cutting or abrading a block of material to create a piece. Wood is very pliable and is therefore easy to carve, although it is subject to humidity and extreme temperatures as it breathes more than stone, and must be dried and cured prior to carving to prevent subsequent splitting or warping. Marble, the stone used most often since ancient Greece, is very hard and difficult to carve; alabaster, which has a similar aesthetic property to marble, is soft and easy to carve; limestone, granite and sandstone are also popular media.

Modeling:
Modeling is the process in which a three-dimensional form is shaped from clay or wax. Clay works are placed in a kiln or oven to be fired and the firing process makes the clay permanent and durable.

Casting:
A fluid substance such as plastic, clay or molten metal is poured into a cast, a mould, which is made from a clay or wax model. Bronze (an alloy of copper and tin) is often used in casting, but concrete and resin can also be cast.

Assemblage:
The term refers to work such as welded metal constructions in which pre-formed elements are joined and was evident in the revolutionary art movements during the first quarter of the twentieth century in France, Russia and Germany.

PRINTMAKING
Lithography:
Lithography consists of drawing or painting with greasy crayons and inks on limestone that has been ground down to a flat, smooth block. After several subsequent manipulations, the stone is moistened with water wetting the sections not covered by the crayon and leaving the areas of the greasy drawing dry as grease repels water. Oil-based ink is then applied with a roller and is repelled by the wet parts of the stone. The print made by pressing paper against the inked drawing is an autographic replica, in reverse, of the original drawing on stone.

Monoprints and Monotypes:
These two terms are often incorrectly assumed to be the same, but there are important differences. A Monoprint has a single underlying image (such as an etched plate or screen) that is made unique through a process of hand colouring or surface alteration to the printed image. A series of monoprints may be similar but are not identical. Monotypes are unique images and do not have a repeatable matrix (etched plate or screen). Instead, a thin even film of ink is rolled on to a plate, which the artist then manipulates by drawing into it, or by rubbing sections off. The print image is taken directly from the plate.

Relief Printing:
This is the oldest printing technique and refers to the cutting away of part of the surface of a block of material so that the image area to be printed stands out in relief. Woodcuts or woodblock prints are made by cutting into the surface of a smooth piece of hardwood with a knife, and V and U gouges are used to create more delicate lines. When printed, the area that has been cut away remains white and the raised surface is visible. A separate block is required for each colour. Printmakers rarely use more than three or four colours for aesthetic purposes. The linocut, a twentieth century adaptation of woodcuts, uses linoleum in place of wood and while it is easier to work with, it will not take very delicate or subtle cutting.

Screenprinting / Serigraphy / Silkscreen Printing:
Serigraphy is a twentieth century multicolour printmaking technique developed in America. The stencil process involves placing designs on a silk or nylon mesh screen that is attached to a wooden or metal frame about two inches deep, with the screen fabric at the bottom. Various film-forming materials, as well as hand-cut film stencils and photo-sensitive emulsions, are used as resists. Colour is poured into the frame, which is placed in contact with the surface to be printed on. The colour is scraped over the stencil with a squeegee and deposited on the paper through the meshes of the uncoated areas of fabric.

Intaglio Process Prints:
Intaglio prints can be created through a number of processes, the common element is that the printed area is recessed. These recessed areas are filled with a greasy printer's ink and then the surface is carefully wiped clean so that the ink remains only in the incised design. Types of intaglio processes include; Etching, Drypoint, Aquatint, Mezzotint, and Collagraphs.

Etching:
The metal plate is coated with an acid-resisting wax or 'ground' that the artist draws into with a variety of tools, removing the ground from the areas that are to print black. The plate is immersed in an acid bath, which 'bites out' or etches the exposed areas. The etched plate is inked and the surface is wiped clean, leaving ink only in the etched depressions. Finally the plate is run through a press with dampened paper - the pressure forces the paper into the etched areas of the plate, transferring the ink onto the paper. Rembrandt van Rijn first popularized this technique.

Drypoint:
Artists working in drypoint draw the image directly onto the plate using a steel tipped 'pencil' that produces an added richness due to the burr (or shaving of metal that is turned up at the furrow). As the burrs are delicate and crush easily under the weight of the press, usually less than 50 impressions can be made.

Aquatint:
Aquatint is an etching technique, which allows large areas of varying tones to be printed, by means of a textured plate. The area to be etched is dusted with a powdered resin and then heated to melt it onto the surface. The plate is then placed in the acid bath to etch away the tiny areas not protected by the granulated resin.

Mezzotint:
This is perhaps the most labour intensive intaglio process and involves a plate being 'rocked' with a curved, notched blade until the surface is entirely and evenly pitted, creating a rough surface that prints black. Scraping the burr off or polishing the plate smooth creates half-tones and light. Colour mezzotints require a separate plate for each colour which will be printed separately on top of the previous colour in different print runs.