Paint
Pigment which is dispersed into a liquid, called a vehicle, which includes a binder to make it adhere both to itself and to the surface to which it is applied. Types of paint include tempera, watercolor, oil, gouache, enamel, encaustic, and fresco.

Painterly
A painting technique in which forms are created with patches of color, exploiting color and tonal relationships. The opposite approach is known as linear, in which things are represented in terms of contour, with precise edges.

Painting
Works of art made with paint on a surface. Often the surface, also called a support, is either a tightly stretched piece of canvas or a panel. How the ground (on which paint is applied) is prepared on the support depends greatly on the type of paint to be used. Paintings are usually intended to be placed in frames, and exhibited on walls, but there have been plenty of exceptions. Also, the act of painting, which may involve a wide range of techniques and materials, along with the work.

Palette
A slab of wood, metal, marble, ceramic, plastic, glass, or paper, sometimes with a hole for the thumb, which an artist can hold while painting and on which the artist mixes paint. Anything from ice trays to disposable paper or Styrofoam plates might be used as a palette. A pane of glass with a white piece of paper attached to its underside makes a fine palette. It's especially versatile because the color of the paper back can be made to match a painting's ground, making colors easier to choose. Clean up of dried paints on such a palette can be done easily with a razor knife.

Palette box
A metal or plastic box with a closable lid. Used to contain watercolor cakes. The top is used as a palette to mix pigments and water.

Palette knife
A knife with a spatulate flexible blade, for applying or scraping off a plastic material. There are a variety of types, but the most common are pictured below. The first two on the left have "straight" handles, and the rest have "offset" handles.

Pantograph
A device for copying a two-dimensional figure to a desired scale, consisting of styluses for tracing and copying mounted on four jointed arms in the form of a parallelogram with extended sides. Leonardo da Vinci (Italian, 1452-1519) used one. Pantographs are based on the simple principle of the parallelogram in Euclidean geometry understood 2300 years ago. The artist moves a pointer attached to one part of the pantograph along the outline of the original image, and a pencil attached to another part copies the image at either the same size, larger or smaller. The placement of the pointer and pencil determines the overall scale.The one Thomas Jefferson (American, 1743-1826) devised and used to copy letters as he wrote them can be seen at his Monticello home. Such tools have been made largely obsolete by photographic and other technologies, but are great for studying scale.

Paper
Most common support used by artists for drawing. Paper's basis is cellulose fiber, derived either directly from the plant or indirectly from rags, sailcloth, etc. Whatever the precise raw materials used, all paper was traditionally made from breaking down or macerating the vegetable matter into individual cellulose fibers. These fibers were mixed with water to form a soupy pulp, and were then scooped up with a wire screen set into a wooden mold (the screen may be made with different materials in different parts of the world, such as bamboo in China or grass in India). The pulp was leveled flat with a shake, and once the water had drained through the screen, an even deposit of matted fibers remained on the screen's surface. This matted deposit was then turned out onto a heavy woolen cloth or felt. Another felt was placed on top of the thin sheet of pulp, and stacks of pulp sheets and felts were then pressed to extract as much of the moisture left in the pulp as possible. The sheets were then hung to dry. At this stage, the paper was still "waterleaf," or like blotting paper. To harden the surface of the sheet and prevent ink bleeding into the sheet, the paper was sized, or coated with a hard gelatin layer. Colored paper, such as blue paper was made either by starting with colored rags to make the pulp or by adding dye after the pulp was prepared. There are two main types of paper in the West: laid and wove. Laid paper was made with a screen of wires that left in the finished sheet the impression of the closely spaced vertical "laid" lines and the broadly spaced horizontal "chain" lines, creating a gridlike effect when the paper was held up to the light. One of the most important developments of papermaking came in the eighteenth century with the development of the wove paper mold surface. Here, the wire screen was made up of a very fine wire mesh, so tightly woven that few or no residual wire marks were visible in the finished paper. Their exact development remains something of a mystery, but the earliest wove papers were made for the printer John Baskerville by James Whatman of Kent, England, and first used in the printing of his Virgil in 1757. Often papermakers will identify their papers with a watermark.

Parchment
A very durable surface for writing or drawing, prepared from the skins of sheep, goats or (for higher-quality vellum) calves. One side of the sheet is usually pock-marked with hair follicles, although the other side's smooth surface allows a very fine line to be produced. Its high absorbency and ivory-colored tone gives a rich effect to any drawing. It was used principally before paper was readily available.

Pastel
Made by blending dry powdered pigments with a nongreasy liquid binding medium such as gum arabic. The resultant paste is usually rolled into a stick and then dried. A wide spectrum of pastel colors is possible, and by the eighteenth century, some artists endeavored to imitate the power and richness of oil painting through a coloristic and painterly style of draftsmanship, so that many of the finest pastels of the period are known as pastel paintings. Pastels were invented at the end of the fifteenth century in northern Italy, and it is thought that Leonardo da Vinci was the first artist to use them, although none of his pastel drawings are known today.

Patina
A sheen or coloration on any surface, either unintended and produced by age or intended and produced by stimulation or simulation, which signifies the object's age; also called aerugo, aes ustum, and verdigris.

Pen
There are three basic kinds of pen. See metal nib, quill, and reed.

Perspective
In art the graphical representation of three dimensions on a flat surface by the use of line, form, hue, and value.

PH scale
Chemical table of alkalinity and acidity ranging from 0 to 14. Less than 7 indicates acidity: 7 is neutral; more than 7 is alkaline.

Picture
A visual representation or image drawn, painted, photographed, or otherwise produced on a flat surface.

Picture plane
In perspective, the plane (a flat level) occupied by the surface of the picture-- its frontal boundary. When there is any illusion of depth in the picture, the picture plane is similar to a plate of glass behind which pictorial elements are arranged in depth. Artists indicate the supposed distance of subjects beyond the picture plane through the use of changes in the sizes of things, the ways they overlap each other, and (when subjects are placed on the depicted ground, as opposed to flying above it) by positioning them on the area taken up by the depicted floor, ground, or a body of water. Abstract Expressionists worked directly on the plane itself, unconcerned with recession in depth.

Pigment
Finely powdered color material which produces the color of any medium. made either from natural substances or synthetically, pigment becomes paint, ink, or dye when mixed with oil, water or another fluid (also called vehicle). When pressed into wax it becomes a crayon, pencil or chalk. Also see binder, fugitive and permanent.

Plane
Any flat level or surface.

Point of view
A position from which something is observed or considered; a standpoint which is either a physical location or one in the mind. Examples of the points of view possible in a picture are: from below, from inside, from outside, from above, and so on. A manner of viewing things; an attitude. The attitude or outlook of a narrator or character in a piece of literature, a movie, or another art form. In discussing art, to use the common synonym "perspective" may be
confusing.

popular culture
Low (as opposed to high) culture, parts of which are known as kitsch and camp. With the increasing economic power of the middle- and lower-income populace since the beginning of the Industrial Revolution in the nineteenth century, artists created various new diversions to answer the needs of these groups. These have included pulp novels and comic books, film, television, advertising, "collectibles," and tract housing. These have taken the place among the bourgeois once taken among the aristocracy by literature, opera, theater, academic painting, sculpture, and architecture. But modernist artists rarely cultivated the popular success of these new cultural forms. Modernist works were little appreciated outside of a small elite. Life magazine's 1950s articles on the abstract expressionist Jackson Pollock (American, 1912-1956), and the silkscreened paintings by Andy Warhol (American, 1928?-1987) of soup cans and celebrities signaled unprecedented fusions between high and low art and the transition to the postmodern age.

Post-Minimalism
(See Minimalism.) Although minimalist art of the 1960s had a stripped-down, prefabricated look, striving to be free of content (free of allegorical qualities), art with minimalist tendencies from the 1970s onward typically became more content-laden. The term Post-Minimalism was coined by Robert Pincus-Witten in Artforum, November, 1971, "Eva Hesse: Post-Minimalism into Sublime." Pincus-Witten pointed out the more embellished and pictorial approach Richard Serra took in his cast-lead pieces, and Eva Hesse in her pliable hangings.

postmodernism or Postmodernism
Art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes.

Prepared Paper
A sheet of paper that has been prepared either with a ground or with just a layer of colored wash in order to alter the aesthetic effect of the sheet. Metalpoint drawings must be made on paper prepared with a ground, as the slight "tooth" of the ground's texture is necessary to scrape off a thin deposit of the metalpoint onto its surface, while the usual addition of a tint creates a middle-tone value for the drawing. This allows the artist to work up from the mid-tone and model volumetrically with white highlights and to work down toward a darker tone.

Primary colors
The colors yellow, red (magenta), and blue (cyan) from which it is possible to mix all the other colors of the spectrum-- also known as the subtractive or colorant primaries. Thus pigments that reflect light of one of these wavelengths and absorb other wavelengths may be mixed to produce all colors.

Proportion
A principle of design, it refers to the relationship of elements to the whole and to each other; a ratio. Often proportion is allied with another principle of art, emphasis. For example, if there is a greater proportion of intense hues than dull hues in a work, emphasis is suggested. Proportion may also refer to size relationships. For example, if one figure is made to look larger compared to other figures in a composition, it is said to be out of proportion and is given greater importance.

Q

Quality
An inherent or distinguishing characteristic of a person or a thing. Or, having a high degree of excellence. The quality of a thing tends to be better the more care its maker puts into its making.

R A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Rice paper
Same as Japanese paper.

Recto
For a loose sheet that is double-sided (i.e., has drawings on both sides of the sheet), the recto is the side that is considered to have the more important drawing or drawings. For a bound volume of drawings, the righthand page of an opening is known as the recto. The other side of the sheet is known as the verso.

Ed Chalk
Sometimes referred to by the French term sanguine, natural red chalk is a clay that gains its color from iron oxide, also known as hematite. The proportion of the hematite to the clay content determines the specific hue of the chalk, which can range from a very pale red to a burnt brownish orange. Red chalk can produce broad, soft, and fluent gradations of tone, and because it is less friable than black chalk, and thus unable to readily cover large-scale areas of paper with unbroken tone, tends to be used for drawings that are on a relatively modest scale. The first artist to realize its potential was Leonardo da Vinci at the end of the fifteenth century. Red chalk reached its apotheosis during the eighteenth century in France, where artists such as Jean-Baptiste Greuze and Jean-Honoré Fragonard displayed exceptional virtuosity and mastery of the medium.

S A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Sable
Sable brushes are considered the best for watercolor painting. Sable is a tense but flexible hair with excellent paint and water holding ability made from the tail hairs of the kolinsky rodent and the red sable.

Sanguine
See red chalk.

Scratch Board
A cardboard coated with gesso and then with a dark color such as India ink. The drawing is then done by scratching into the dark surface to expose the white board. This will give the look of a wood engraving. There are various tools that can be used to do the scratching. Some fit in standard pen holders. Scratchboard was introduced in the 19th century and is used mostly in commercial art.

Scumble
Scumbling is the technique of putting a semi-dry paint over an existing dry paint in such a way as to create a haze. This is done with semi-opaque or opaque paint, and is used mostly in oil and acrylic painting.

Secondary colors
The colors obtained by mixing equal amounts of two primary colors. The secondary colors in pigment are orange, green, and violet; in light, they're magenta, yellow, and cyan.

Sedimentation
The physical and visual appearance of the grains of watercolor pigments upon drying.

Sepia Ink
A brown ink obtained from the dried ink sacs of cuttlefish and squid. The sacs were ground up and mixed with boiling water. The liquid was drained off and the remaining sediment was then ground very finely and mixed with gum arabic before being dried into cakes that, when mixed with water, resulted in a rich, dark brown ink. The term is often misused as a synonym for the brown ink of old master drawings. In fact, its use became widespread only with the development of semi-industrial production methods in the nineteenth century.

Shade
The property of a color that is the darkness of the color. When a color is darker than it is in its pure form, it is said to be a shade of that color.

Single lense reflex camera (SLR)
A popular camera format, usually 35mm in which the photographer views the subject through the lense. Light metering and focus are also seen directly through the lense.

Sketch
A quick free hand drawing or painting made without the use of straight edges, compasses, or
other instruments. Generally expressive in nature. Often used as studies for more serious and finished work.

Sketch Book
A book that contains drawing paper for sketches. It differs from an album in that the drawings are not adhered into the book but drawn on the actual sheet.

Split complements
One color plus the two colors that are on either side of its complement on the color wheel. For example, the complement of orange is blue, and the two colors on either side of blue are blue-green and blue-violet. Therefore the split complements of orange are blue-green and blue-violet.

Squaring
To facilitate the transfer, and often the enlargement, of a design from a drawing to another surface, such as a canvas or panel, artists sometimes "squared" their drawings by placing a grid of vertical and horizontal lines over the design to be transferred. The drawing was then copied square by square to the other surface, which would also have been squared with an identical, but appropriately scaled, grid.

Straight edge
As in straight edged ruler. Often a flexable gradiated metal rule used for measuring and marking straight lines. May also be ungradiated and of a thicker steel.

Studio
Etelier if you parlez vous francais. The place artists create those things they create. Examples include old lofts, barns, store fronts, garrets, or simply a table somewhere.

Stump
A tightly rolled coil of leather or paper used to rub a chalk, charcoal, graphite, or pastel drawing in order to create subtle shading and tonal effects by blurring the medium.

Stylus
A point made of metal that has been used to write on wax or wooden tablets since antiquity. Draftsmen have traditionally used the stylus to copy a drawing onto another sheet of paper. By inserting a fine sheet of paper covered with dusted chalk between the drawing and the blank sheet of paper, or by rubbing chalk directly onto the back of the drawing, the image can be duplicated onto the other sheet through the simple pressure of drawing the stylus point around the outlines of the original sketch.

Support
Any surface on which a picture is realized. Watercolor paper for watercolors, canvas for oil and acrylic paintings.

Surrealism
A term that is much abused and misused nowadays. It was coined in 1917, but was really given birth by the French poet André Breton in 1924 when he defined it as "pure psychic automatism by which it is intended to express..... the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations." Surrealism followed hard on the heels of Dada. It was a psychological approach to Dada art. It went in two directions in the 1920's, one the dream world of painters like Salvador Dali which were painted in precise realist style, the other, was the work ofpainters such as Joan Miró and André Masson. These were loosely drawn figures or form shown in shallow space. The last official surrealist painter was Ashile Gorky working in New York. Other painters of note are Jean Arp, Max Ernst, Man Ray, Yves Tanguy, Remedios Varo, Pablo Picasso, and René Magritte.

Symmetry
Relating to composition. The repetition of the elements of a work of art on all sides of a central axis.

Synthetic hair
Type of brush using synthetic hair. Offers greater tension than sable hair brushes but not the water or paint holding capacity.

T A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Technique
Any method of working with art materials to create an art object.

Texture
An element of art which refers to the surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are suggested by the way the artist has painted certain areas of a picture.

Tint
A color to which white has been added. For example, white added to green makes a lighter green tint.

Toxic
Poisonous; capable of causing injury or death. Among toxic art materials are the paints flake white (white lead), whose dry pigment should never be handled, and Naples yellow. Whenever a person has been exposed to such hazardous substances immediately get medical assistance.

tradition and traditional
Tradition is the passing along of a culture from generation to generation, especially orally. Or, a custom or set of customs handed down in this way. The idea of heritage is related to that of tradition. Any activity -- as a pattern of celebration, ritual, or other behavior, etc. -- is traditional once it is a precedent influencing comparable activities in the future. Tradition's opposite is reaction to it, change, variation from what's been done before, what's different, new or avant-garde.

Transparent
Allowing light to pass through so that objects can be clearly seen on the other side; the opposite of opaque. Window glass, cellophane and watercolors are usually transparent.

Trois Crayons
A highly pictorial technique that combined the use of white, black, and red chalk within one drawing. It was especially favored by French artists of the eighteenth century, notably Watteau.

Trompe L'oeil
A French term meaning deception of the eye. In painting it is used to classify paintings that are painted so realisticly as to fool the viewer into thinking the objects in the painting are not painted, but real. One of the famous painters in the style is the 19th century painter, William Michael Harnett.

truth
Conformity to fact or actuality. Veracity. Being in accord with fact or reality. Expressing integrity. Truth is a comprehensive term that in all of its nuances implies accuracy and honesty. Verisimilitude is the quality of having the appearance of truth or reality. A belief of some modernist painters, especially Abstract Expressionists, is that to produce an illusion of depth is dishonest -- that a work is more truthful when it declares its inherent flatness. Postmodernists have rejected this notion. Other opposites to truth: counterfeit, fake, forgery, plagiarism, ostentation, and pretentiousness.

Tryptich
A set of three paintings, related in subject and set side by side. Originally used as altarpieces. Works in this style date from the medieval time. Today, we see the style used in many decorative paintings.

Two-point perspective
The use of two vanishing points to depict a three dimensional image on a flat surface.

Tube
Pigment in tube form.

U A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

ugly
Unsightly; displeasing to the eye; repulsive or offensive; hideous; objectionable. Bad. The opposite of beautiful. Mediocrity in any form can be ugly, but so can pornography, vandalism, and the results of other unappealing or criminal behaviors; just as poor qualitiy painting, sculpture, architecture, fashion and other products of art and design can be ugly. Ultimately, just as beauty is in the eye of the beholder, ugliness is too. Aesthetic values (tastes) vary both within and between cultures. What affects the rise or fall of any peoples' assessments of various styles or individual works may come from many sorts of influences. Any people's distaste for imagery that offends ethical or moral standards may be less likely to change over time, but it too can change. Although the most popularly embraced art is beautiful, and choosing to produce art that is ugly is counter-intuitive, artists have sometimes chosen to produce ugliness. Artists have often portrayed unsettling subjects in order to disturb the viewer, frequently to move the viewer to pay attention to social ills. Examples of intentionally produced images of uncharitable behaviors among ordinary people, and corruption among political, business or military officials can be found among cartoons and Expressionism.

unconscious
Not having awareness or sensory perception. Occurring in the absence of conscious awareness or thought. Without conscious control; involuntary or unintended. In psychoanalytic theory, the portion of the mind which holds such things as memories and repressed desires, that are not subject to conscious perception or control but that often affect conscious thoughts and behavior. The unconscious is an important issue to artists influenced by Surrealism.

Underpainting
Used to describe a preliminary drawing, often in charcoal, and usually on a painting's canvas or panel, in which the outlines of form or composition are sketched in preparation for detailed work in other media. Often draftsmen also made a preliminary underdrawing in graphite or black chalk, or with a stylus, before finalizing their design in another medium.

unity
The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of design. A totality that combines all of its parts into one complete, cohesive whole. Often it is realized through a deliberate or intuitive balancing of harmony and variety. However, this balance does not have to be of equal proportions. Harmony might outweigh variety, or variety might outweigh harmony. Harmony aids efforts to blend picture parts together to form a whole. Variety adds visual interest to this unified whole. A composition is unified when the relationships between its parts interact to create a sense that no portion of the composition may be changed without altering the aesthetic integrity and meaning of the artwork. When unity is achieved with insufficient harmony and variety, the result is monotony. Unity is largely synonymous with coherence.

V A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Value
An element of art that describes the lightness or darkness of a color. Value is an especially important element in works of art when color is absent. This is particularly likely with drawings, woodcuts, lithographs, and photographs.

Value key
The relative level of a color's value, whether referencing an individual color, or a color scheme seen either in an artwork's entirety or in a passage within one. The lighter the value, the higher and more cheerful the value key; the darker the value, the lower and more somber the value key. Also see chroma key, contrast key, cool colors, tonal key, warm colors, and temperature key.

value scale
A series of spaces filled with the tints and shades of one color, starting with white or the lightest tint on one end, and gradually changing into the darkest shade or black on the other.

variegated
Marked with patches, spots, or streaks of different colors. In contrast to a surface having either one color or a regular pattern or texture, a variegated surface has a varied design of several colors and / or textures. Often used in describing materials as as textiles, and parts of plants and animals.

Vehicle
Something that moves things around. In the visual arts, usually the liquid, usually water or oil, that is mixed with pigments to make paints, dyes, and inks.

vellum
Fine parchment, originally calf-skin, used traditionally for manuscripts.

verisimilitude
Appearing to be true or real.

vernacular
The standard native language of an area. May also refer to architecture, furniture, or some other art or craft of a region, culture, or period. Vernacular architecture and furniture is made in local rather than cosmopolitan traditions of design and construction, reflecting the needs of ordinary people's lives.

Verso
The reverse or back side of a sheet of paper. The opposite of recto.

viewfinder
A small window cut in a piece of paper or card, that shows what will be in a picture's composition.

viscosity
The relative resistance of a liquid to stirring or movement, and its stickiness. The thicker it is the greater is its viscosity; the thinner it is the lesser is its viscosity.

visualize
To see or form a mental picture of something.

vitrine
A largely transparent cabinet or case in which an exhibitor can place one or more objects so that viewers may see them. Much as frames both set off and protect two-dimensional works, vitrines are display furniture, designed to set apart and to protect their contents. Most are effectively boxes whose sides are panels of clear glass or plastic. Some are also fitted with lamps providing artificial light. Some have sensors that can trigger alarms. And some are outfitted to maintain a desirable atmosphere. There are very small vitrines, even for single objects, but some three-dimensional objects might be better displayed in a shadow box

W A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Warm Colors
Colors are often described as having temperature -- as warm (purples, reds, oranges, and yellows), neutral (violets and greens), or cool (blue-greens and blues). Warm colors are often associated with fire and sun. They appear on one side of the color wheel, bordered by the neutral colors, and opposite the cool colors. Psychologically, warm colors are said to be stimulating and passionate. Optically, warm colors generally appear to advance, coming toward the viewer.

Warping
Waviness or wrinkling light weight papers assume when after wetting. The heavier the weight of the paper the less warping the paper assumes.

Wash
The act of laying water or pigment on the surface of a watercolor painting with a brush. Washes
may include lesser or greater amounts of water or pigment.

Watercolor or watercolour
Any paint that uses water as a medium. Paintings done with this medium are known as watercolors. When made opaque with white, watercolor is generally called gouache or bodycolor.

Watercolor painting
The act of using watercolor as a medium to Paint.

Watercolor paper
Paper used for watercolor painting.

Watermark
In the making of paper, a translucent design impressed on it when still moist by a metal pattern, and visible when the paper is held before light (back-lit). In digital imaging, bits altered within an image to create a pattern which indicates proof of ownership; so that unauthorized use of a watermarked image can then be traced.

Water-soluble
Soluble in water; capable of being dissolved in water, especially if a wetting agent is added, like detergents and soaps.

weight
Either the actual (physical) or the apparent (visual or compositional) heaviness of an object. When referring to the actual weight of an object, weight is a measurement of the force with which that object is attracted to earth (or some other celestial body) in such units as grams, kilograms, pounds, ounces, and stones. When referring to the visual or compositional weight of a portion of an image, weight is the relative visual dominance, emphasis, pull or force of attraction of that portion (object, volume, etc.) of a composition (picture, sculpture, etc.) The weight of a portion of a composition can depend in part upon such factors as its location (arrangement) in a composition, the extent of its isolation from other parts (distance from or contrast with other parts), and the psychological pull of its meaning. Human faces and other parts of figures, for instance, typically attract the viewer's gaze more powerfully than most other subjects.

Wet on dry
Technique in watercolor painting in which a wash is laid over a dry area of paper.

Wet in wet
Technique in watercolor painting in which a wash is laid on an area still damp or wet from a previous wash.

wetting agent
A substance that reduces the surface tension of a liquid, causing the liquid to spread across or penetrate more easily the surface of a solid, making anything that is water-soluble more quickly solved. Detergents and soaps generally accomplish this in order to penetrate surfaces to clean them. A wetting agent traditionally used in watercolor painting is oxgall. Modern synthetic wetting agents most recommended for art applications are often available from art supply dealers and from photographic and general chemical supply dealers in bottle, dropper-bottle, and aerosol forms.

White Chalk
Primarily used to heighten drawings in other media. There are two types of natural white chalk: calcite or calcium carbonate, a soft and fairly brilliant white, and soapstone or stealite, a slightly harder, bluish white.

X

xanthic or xanthine
Of, relating to, or tending toward a yellow color. "Xanthic" has its roots in the Greek word "xanthos" which means "yellow." "Xantho-" and "xanth-" are prefixes which also mean yellow. (pr. ZAN-thk)

xenophilia
Love of the foreign or unfamiliar. A xenophile is a person attracted to that which is foreign (or ethnic), especially to foreign peoples, manners, or cultures. In Western societies during the 1990s, in reaction to the prevailing opinion that the great accomplishments have been made almost exclusively by males of European descent (DWMs), there was a xenophilic embrace of works by women, non-whites and the dispossessed.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z