thick paint (impasto) research

     There are many different techniques used in order to achieve thick paint, but impasto is one technique that is used most often. This technique allows one to make a thickly textured paint that almost gives a three-dimensional appearance. It leaves visible brush strokes in the finished painting, and in most cases, the brush strokes are more important than the subject matter. Impasto is usually painted on a canvas, and if you look on the side of the painting you can usually see globs of paint sticking out from the canvas. Also, from the front of the painting, the impasto paint is highlighted by natural light in the room. Most impasto paintings are expressive and abstract works of art.

     Oil paint is most commonly used when achieving the impasto painting technique, due to its thickness and slow drying time. But, it is also possible to paint with the impasto technique using acrylic, watercolor, and tempera. Tempera needs a thickening agent because of it is thin in nature. 

• When thick layers of pigment are left to dry slowly, wrinkling or cracking of the paint film may occur. To avoid this, use a fast-drying alkyd medium or one specially designed for impasto work. These mediums thicken the paint without changing its colour, expedite the drying process and make the paint go further. Excessively oily paint usually makes it awkward to achieve highly textured impasto brushstrokes. In such a case, squeeze the paint onto absorbent paper and leave it for a few minutes. The paper will absorb the surplus oil lending the paint a stiffer consistency.
     
• Flat bristle or synthetic brushes are ideal for impasto work, because they hold a lot of paint. Load your brush with plenty of colour and dab it onto the canvas, working the brush in all directions, thus creating a sculptural texture.
    
• For extra texture, mix sand and sawdust with oil paint to create a highly impastoed surface. You can also make expressive marks by scratching into the wet paint with a palette knife, the end of a brush handle or any sharp tool.
     
• If your oil painting becomes clogged with too much paint, the surplus can be removed when still wet by a technique known as 'tonking'. Simply place a sheet of newspaper, toilet-tissue or other absorbent paper, onto the overloaded area and gently smooth with the back of your hand. Then peel off the paper, lifting the excess paint with it.
     
• Once your impasted layer is completely dry, you can glaze over it with a thin film of paint mixed with a glaze medium. However, in order to prevent cracking, the glaze medium must contain more oil than the layers underneath.

research:

http://emptyeasel.com/2007/07/26/what-is-impasto-thick-textured-paint/

http://en.wikipedia.org/wiki/Impasto

http://www.visual-arts-cork.com/painting/impasto-technique.htm

artists:

VAN GOGH- http://en.wikipedia.org/wiki/Vincent_van_Gogh. Vincent Van Gogh was one of the pioneers in using the impasto technique to create an expressive work of art. He used thick layers of paint and relied on the strokes to speak the expression he was trying to achieve. I've always admired his work and the expressive nature they take on. To see his works of art, go here: http://www.vangoghgallery.com/

RODERIC O'CONOR- http://www.visual-arts-cork.com/irish-artists/roderic-oconor.htm Roceric O'Conor was a Francophile, an exponent of Post-Impressionism, and one of the greatest Post-Impressionists in the history of Irish art. O'Conor spent more of his life in France than any other Irish painter and unquestionably belongs to the sunny 'Post-Impressionist' world of the turn of the century. Inspired and engaged by the use of colour, his bold colors and color combinations give his work the stamp of true individuality. To look at his works of art, go here: http://www.google.com/images?client=safari&rls=en&q=roderic+o'conor&oe=UTF-8&um=1&ie=UTF-8&source=univ&ei=tlpZTe-pOom-sAORlIGdDA&sa=X&oi=image_result_group&ct=title&resnum=5&ved=0CEIQsAQwBA&biw=1024&bih=910&safe=active

FRANK AUERBACH- http://www.visual-arts-cork.com/famous-artists/frank-auerbach.htm Auerbach is usually classed as a Neo-Expressionist and is known for his semi-abstract portraits and London cityscapes. Along with Lucian Freud (b.1922) and Francis Bacon (1909-92), Auerbach has become one of the leading figures in post war British art, and is internationally recognised. His paintings display heavy impasto brushstrokes and are built up layer over layer involving scraping and repainting. Employing delicate colour and tone, he creates powerfully evocative and contemplative works. It has been said that if drips are associated with Jackson Pollock (1912-56), and spots with Georges Seurat (1859-91), so gashes of thick paint are associated with Frank Auerbach. His brushstroke and thick use of impasto aligns his work with Expressionism. Over the years he has increased the amount of paint he applies to canvas, resulting in the comments that his painting is more akin to sculpture (with influences of Alberto Giacometti 1901-66 and Karel Appel (1921-2006). More recently the artist has started scraping back some of the paint as he works. His drawings also show an influence of sculpture, in the fact that he layers pages of paper on top of each other, sometimes resulting in as much as half an inch in thickness. To see his works of art, go here: http://www.marlboroughfineart.com/artist-Frank-Auerbach-52.html