Vocab Lesson: Impasto

Van Gogh, making pretty pictures.

Impasto -  the thick application of a pigment to a canvas or panel in painting; also :  the body of pigment so applied (from Merriam-Webster)

No new painting student ever goes the impasto route (unless we're talking finger-painting pre-schoolers). Paint is expensive, money is tight, and being liberal with the tubed goo doesn't seem to make sense. Even I was victim to the thin paint blues, not knowing what I would do with so much paint and afraid to be too forthright with my approach. I was even guilty of using my brushes on the canvas in a way that suggested the technique of a house painter, doing the ol' back and forth action. Don't be like that. Live a little!

At the very least, it is good practice to forget about the cost of paint for a moment and just take the plunge into impasto technique. This is especially true for those that are attempting short still life studies or plein air painting, as time is a factor. The more paint you use, the quicker you'll be towards a finished-looking painting. Even if your overall painting style develops into a more subdued and thin application, you'll have had the experience of utilizing larger swaths of paint, giving yourself more feel for what the medium can do, and what may or may not work well.

Rembrant, an early pioneer of thick paint techniques.

For a real foray into the technique, find a way to work with your palette knife as your applicator, instead of a brush. You'll really challenge the way you understand the function of the paint, especially as a vessel for tone, color, and plane change. Interesting textures will arise and you'll find yourself absorbing so much more knowledge of the materials than you would had you simply resigned yourself to doing the same old thing. Don't do the same old thing.

Also, try hog hair! That will get you some nice meaty textures. If you want to paint anything similar to Lucian Freud's most famous works, you'll need to get some hog hair brushes. Make sure to scoop that paint and don't mess with it after it hits the canvas. Just let it sit. If it's not sitting right, don't be afraid to wipe it off. Just don't push it around.

Lastly, remember that oil paint should be applied fat over lean. This means that the layers closer to the canvas should be thinner than the layers on top. This allows the oils in the paints to sit more comfortably and reduces the amount of cracking that can happen as paint dries. Impasto is a perfect approach in regards to this information, so give it a shot. If you want to make sure you're getting things looking correct before you go nuts with the paint, just do a simple underpainting and slowly gear yourself up for the bold moves you'll be making later. I think you'll soon see that paint is very versatile and has qualities that are not seen as clearly or with as much appreciation as when it is applied with some thickness.

Cordelia Wilson, exhibiting impasto technique with subdued colors