Alla Prima/Direct Painting
Painting not done in layers (which is the traditional way); literally "at once" in Italian.

Body Color
Adding white to the colors in the painting.

Broken Color
Painting small, disjoint areas of color, as in Impressionism or Pointillism.

Brush Marks/Knife Marks
Using brushes or knives to highlight surface textures.
ing "lean" oil (less oil than turpentine in the paint) paint, which dries faster, under a "fat" oil paint (pure paint) layer

Frottie
Glazing with opaque colors, or a colored glaze mixed with white; using semi-transparent glaze or film

Glaze/Glazing
Applying a transparent medium that changes the color or texture of the surface, especially to regulate tones; must be completely dried up before a new layer is applied on top of it.

Grisaille
Painting entirely in monochrome gray; a type of underpainting of an oil painting.

Hatching
Applying cross-hatching brush strokes

Impasto
Applying thick paint such that marks and strokes by a brush or knife are visible; for textural effects and glazes

Masking
Using adhesive material to cover an area or create boundaries for where one is currently painting

Painting to Completiong in Sections
Performing Alla Prima by section; runs the risk of a disjointed-looking painting if careless

Pulling
Absorbing a surface using a cloth or sponge to "pull" back the underlying surface color

Rubbing
Using fingers to manipulate the paint on the canvas

Scoring
Scratching a painting to reveal an underlying layer; usually done to achieve the effect of skin and hair in paintings.

Scumble
Creating a broken color effect by loosely dragging the paint with a brush; different from the frottie in that it is thick but broken; usually uses a fairly dry brush

Spattering
Flicking a brush to transfer the paint on it onto the canvas

Teasing
Manipulating (wet) paint on the canvas

Three-Tone
Using light, medium, and dark tones only

Tonking
Having a sheet of paper absorb excess oil in a painting; named after British artist Henry Tonks

Toned Ground
Applying a stain over a priming (i.e., ground) before one begins to paint; commonly used colors

Using Ground
Allowing a portion of the ground to see through the finished painting

Varnish
Applying a protective film over a painting that results in either a glossy or matte surface

Verdaccio
Painting in greenish-gray colors for later layers in an oil painting; a type of underpainting; effective for creating flesh tones; popular among Renaissance artists

Washing
Thinning out thicker or purer paint layers

Wet-on-wet
Literally wet paint used alongside wet paint; produces a lighter look when the colors mix; "painting from light colors up"; leaves no time for drying up and is thus a quicker method of painting

Wet-on-dry
Literally wet paint used on already dried up paint