Acrylic
First introduced in the 1950s, acrylic paint consists of pigment suspended in a synthetic medium. Some artists prefer it to oil paint because it dries fast and can be thinned with water.

Canvas
A closely woven fabric, originally made from hemp, on which a painting is made. More broadly, a firm, woven cloth of linen, cotton or other fibre.

Enamel paint
An oil-, water- or latex-based paint, often applied as a spray, that air-dries to a hard, glossy finish. (Not to be confused with “enamel,” a vitreous glaze fused onto a surface by intense heat.)

Medium
Either an artistic technique or means of expression (painting, drawing, sculpture, photography) or the materials used to create an artwork (paint, marble, wood, paper, glass, textile, ceramic).

Partitions
Movable walls used for hanging pictures in an exhibition.

Palette
A thin wooden, m Read More
Acrylic
First introduced in the 1950s, acrylic paint consists of pigment suspended in a synthetic medium. Some artists prefer it to oil paint because it dries fast and can be thinned with water.

Canvas

A closely woven fabric, originally made from hemp, on which a painting is made. More broadly, a firm, woven cloth of linen, cotton or other fibre.

Enamel paint
An oil-, water- or latex-based paint, often applied as a spray, that air-dries to a hard, glossy finish. (Not to be confused with “enamel,” a vitreous glaze fused onto a surface by intense heat.)

Medium

Either an artistic technique or means of expression (painting, drawing, sculpture, photography) or the materials used to create an artwork (paint, marble, wood, paper, glass, textile, ceramic).

Partitions

Movable walls used for hanging pictures in an exhibition.

Palette

A thin wooden, metal, ceramic or plastic tray, often with a thumb hole, once commonly used by painters to hold and mix colors. Now, by extension, the range of colours used by an artist.

Poplin

A plain-woven fabric of cotton, silk or other fibre with fine crosswise ribbing.

Stretcher
A wooden frame onto which a painting canvas is stretched and attached.

Support
The flat surface on which a painting is executed. The most commonly used support materials include canvas, wood, cardboard, metal and paper.

© 2013, Galerie de l'UQAM. All Rights Reserved.

Stéphane La Rue, Out of Shape No. 2, 2010, graphite powder on wood, artist, studio

Filming and editing: Frédéric Lavoie

1- Overview of the artist’s studio showing a wall hung with a series of colourful works on paper.

2- View of a studio wall displaying a series of works made with graphite powder on wood.

3- The artist is using a metal ruler to make a crease in the lower part of a sheet of paper.

4- The artist is making another crease in the middle of the sheet of paper.

5- The artist is dipping a brush into a small container of red watercolour paint.

6- The artist is painting broad strokes of colour on scrap paper to test his technique and the intensity of the colour.

7- The artist is applying colour on the sheet of paper at an angle to the lines formed by the creases.

8- The artist is folding the sheet of paper back along the creases.

9- The artwork is left to dry on a table.

Galerie de l'UQAM

© 2013, Galerie de l'UQAM. All Rights Reserved.


Janet Werner, artist studion, oil painting, technique, collage, fashion

Filming and editing: Frédéric Lavoie

1- Overview of the artist’s studio showing several paintings.

2- A different view of the artist’s studio, showing other paintings, an armchair, piles of catalogues and knickknacks.

3- A view of the artist’s studio looking toward the windows and showing some of the materials that she uses.

4- View of art history books, fashion magazines and a collection of knickknacks and other objects that the artist uses as models for her paintings.

5- The artist is browsing through fashion magazines looking for inspiring models.

6- The artist is looking for inspiring models in a fashion magazine.

7- The artist is assembling body parts from the selected models to create new, fictional figures.

8- View of an assemblage that combines pictures of body parts of two models in a slightly distorted image.

9- The artist is placing a picture of the head of one model on the body of another.

10- View of an assemblage that combines pictures of body parts of two models in a decidedly distorted image.

11- View of the studio showing magazine pictures, one of which no doubt served as a model for one of the paintings seen in the background.

Galerie de l'UQAM

© 2013, Galerie de l'UQAM. All Rights Reserved.


Louis-Philippe Côté, oil on canvas, 2010-2011, appropriation, media, artist, studio, technique

Filming and editing: Frédéric Lavoie

1- An overview of the artist’s studio showing paintings on the walls and a work table.

2- Another view of the artist’s studio, with a different painting and a second work table.

3- View of some of the magazine clippings and photos with which the artist works.

4- Another view of magazine clippings and photos that the artist uses.

5- View of a studio wall hung with a colour chart, a few reproductions of historic paintings and collages made by the artist.

6- View of a table holding tubes of colour, brushes and other tools.

7- The artist is mixing his oil colours with a brush on a white plastic board used as a palette.

8- Close-up of the artist mixing his colours.

9- The artist is applying colour to the canvas with a brush.

10- The artist is standing on a stool to apply colour in the upper part of the canvas.

11- The artist is taking a few steps back to assess his work.

Galerie de l'UQAM

© 2013, Galerie de l'UQAM. All Rights Reserved.


François Lacasse, 2011, all-over, support, abstraction, artist, studio, painting

Filming and editing: Frédéric Lavoie

1- Overview of the artist’s studio showing a series of colourful paintings on the walls.

2- View of some of the tubes of oil colours that the artist uses.

3- The artist is squeezing colour straight from a tube onto the canvas lying flat on a work table.

4- The artist is laying a sheet of clear plastic film over the squiggle of paint from the tube. Then he spreads the colour by rubbing the film with his fingers.

5- The artist is lifting off the plastic film.

6- The artist is depositing the remains of paint stuck to the plastic film in another area of the canvas.

7- Close-up of the artist peeling off the plastic film with paint stuck to it.

8- The artist is sponging up the excess paint by covering it with a folded sheet of paper and rubbing.

9- He repeats the process several times.

10- He repeats the process until he is satisfied with the result.

11- The artist is finishing off a coloured squiggle by pressing it with absorbent tracing paper.

12- He repeats the entire process with different colours all over the canvas.

Galerie de l'UQAM

© 2013, Galerie de l'UQAM. All Rights Reserved.


Learning Objectives

Contemporary artists who practice painting use a wide variety of supports and materials to create their works. Learn about some innovative approaches and the particular vocabulary used to discuss them.

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