Using the impasto technique in art offers a range of benefits that contribute to the visual and emotional impact of a piece. Here are some key advantages:
4 Quick, Inexpensive Ways to Add Unique Textures to Mixed Media Paintings
One of the joys of painting with mixed-media is the freedom to create unique textures and patterns in your backgrounds. While it’s tempting to buy the expensive products from your local art supplier, doing so can get pricey—especially when you’re just looking to experiment.
So if you like to play with different background textures for mixed media, take a quick run through your local dollar store instead. . . the following items are all cheap, easy ways to create interesting texture in your paintings:
Decorator’s sand
Stop by the floral/wedding décor aisle for a jar of decorator’s sand. You can create a mixture of sand and acrylic gel to apply as a separate layer, or mix the sand directly into your acrylic paint or gesso and apply with a palette knife.
Allow plenty of time for the layer to dry before continuing your painting, otherwise you’ll just push the sand around with your brush. Once it’s dry, however, you can easily add more layers of color over the top, allowing the texture to show through.
Tissue paper
The gift aisle contains a very easy texturing element: tissue paper! You can use matte medium or acrylic paint to apply tissue paper to your surface as its own layer (see image below) or apply it and then peel it off.
To get texture from peeling it, spread the tissue paper onto a layer of paint, either scrunched, cut into shapes, or flat. Press it gently before pull it off to reveal patterns that create the illusion of extra texture in your background (this method works with thick watercolor too).
HARD EDGE TECHNIQUES USING GOLDEN PRODUCTS
This Application Sheet discusses how to reduce the common issues artists experience when employing hard edge techniques in their artwork. The methods and products will vary dependant on the surface, paint consistency and surface texture, so the various processes are broken down into three sections.
It”s important to note that hard edge painting requires a good deal of applying tape and then using pressure to burnish edges, and subsequently pulling tape off. All of which may sag the canvas and are more difficult to attempt on stretched canvases, so when doing a painting with a lot of hard edge techniques, it”s generally better to work on rigid supports or at least temporarily secure the canvas to a panel.
THIN PAINT FILMS
Base Color Technique
This first method is most useful for thinner paint layers and where the underlying layer of paint is one uniform base paint color. The base color is applied and allowed to dry.
Image 1 – The tape edge is burnished to create a better seal.
Image 2 – the same paint as the base layer is applied to prevent seeping.
Image 3 – the tape is removed at a sharp angle to help develop a clean edge.
Image 4 – using a mix of GAC 200 & GAC 500 to seal the inside edge. Be aware of paint ridges creating gaps under the tape.
- The desired area is masked off with painter’s tape. Various kinds of tapes may be used, but overall the kinds of low-adhesive masking tapes used for house painting are an excellent choice. Standard masking tapes and other kinds of tapes can be used, but testing is highly suggested to assure they don”t pull up the underlying paint, or leave an unwanted residue behind.
- Once the tape is applied, burnish the inside edge with a finger (Image 1).
- Next, the same base paint color is applied again, and allowed to dry (Image 2). The purpose of this application is to seal the inside edge, which later helps in preventing the intended paint color from seeping and creeping underneath the tape edge. This is especially important when working on surfaces with any degree of texture.
- Finally, the desired paint layer is applied. Fresh acrylic paint films tend to be very elastic and can stretch when the tape is removed. To help reduce this, GOLDEN GAC 200 can be blended with the paint. This hard acrylic binder helps to create a cleaner edge. Adding GAC 200 decreases the pigment level of the paint, so if opacity is critical, keep the GAC 200 additions to a minimum amount, such as 2:1 (paint to GAC 200). Products with a high solids content – such as GOLDEN Gesso – work without having to add the GAC 200 because these solids-loaded materials are not as elastic as many paints, especially those with tiny pigment particles.
- Apply thin and even, and apply as many coats as needed to achieve the desired opacity.
- Once the final paint layer is allowed to dry, then the masking is pulled off (Image 3). Pull the tape off at a sharp angle, as this helps facilitate a cleaner edge.
Acrylic Medium Edge Sealing Technique
- The Base Color Technique works well with one solid underlying color, but as the painting develops and there are multiple colors to work over, It becomes more complex to seal the inside tape edge. A clear medium can effectively seal the edge, and because it”s clear, any seepage won”t be too obvious, especially if the artwork is eventually varnished.
- The preferred clear medium for hard edge tape sealing is a blend of GAC 200 and GAC 500 at a 3:1 ratio. This mix of a hard and regular acrylic medium is less elastic at room temperatures than other mediums, resulting in a crisper paint edge. Pay special attention to any areas where there might be gaps in the tape because of overlapping paint films (Image 4).
- Allow this layer to dry and repeat this process with additional medium coats until the entire tape edge is properly sealed. In hard edge painting, it”s always much easier to apply an extra sealing coat than having to clean up a ragged edge later.
- After the last layer of medium has dried, apply the paints – ideally also blended with GAC 200 – to the taped section.
THICK PAINT FILMS
This last technique is perhaps the simplest because the physical thickness of the paint layer inherently helps reduce seepage underneath the taped edge, as long as it’s applied with some care.
Image 5 – a thick layer of paint is applied into the taped area.
Image 6 – while the paint layer is still wet, the tape is pulled straight up from the surface.
- Start just like the previous methods, by taping the desired shape. Using paint or medium to seal the inside edge can be done, but it is often not necessary except on the most textural of surfaces. At a certain point one needs to understand such textural surfaces are going to be painfully difficult to mask and achieve hard edges. Nevertheless, this technique stands the best chance for success on more irregular surfaces.
- The paint films can be applied quite thickly, so the artist can extend the paints with a thick medium, such as High Solid Gel Gloss. This increases the consistency to aid in achieving a hard edge, and also extends the paints to reduce overall cost. Opacity is less of a concern in thickly applied paint layers, so generous amounts of gel can be added into the paint.
- The paint is then applied onto the desired masked area. Take care to not force the paint towards the inside edge, and also try to apply the paint gently because it can seep under the tape if one is not careful (Image 5). With practice, this application is quite simple. The wet product should completely cover the inside seam.
- As soon as the paint has been applied satisfactorily, remove the tape. When removing the tape, start with the last piece of tape applied, and pull it off as near vertical as possible because an angled edge will be quite visible in the dried film (Image 6).
- Allow the paint layer to fully dry (at least 24 hours or more) before proceeding.
How to Make an Impasto Painting
Achieving an impasto effect in a painting involves applying thick layers of paint to the canvas or surface to create texture and depth. Here’s a step-by-step guide to the impasto technique:
1. Prepare Your Canvas:
Start with a stretched canvas or a sturdy painting surface. Ensure it’s clean and primed if necessary. Impasto paintings tend to be much heavier than regular paintings because of the thickness of the paint. A heavy impasto painting can cause sagging in your canvas so it is best to use a good quality canvas that is stretched tight or a canvas board or wood panel.
2. Select Your Paints:
Choose heavy-bodied acrylic paints or thick oil paint. These paints have a thicker consistency and work best for impasto.
3. Set Up Your Workspace:
Place your canvas on an easel or a flat surface at a comfortable height. Ensure good lighting and ventilation in your workspace.
4. Mix Your Paint:
Squeeze out the paint colors you need onto your mixing palette. You can mix colors on the palette to achieve your desired shades or mix them directly on the canvas.
5. Use Palette Knives:
Palette knives are the primary tools for applying impasto. Dip the palette knife into the paint and lift a generous amount of paint onto the blade.
6. Apply Paint with the Palette Knife:
Apply the paint directly to the canvas with the palette knife. You can use various techniques:
– Scraping: Drag the palette knife across the canvas to create flat, textured areas.
– Dabbing: Dab the paint onto the canvas to create raised, textured spots.
– Layering: Apply multiple layers of paint to build up texture and depth.
7. Experiment with Strokes:
Experiment with different strokes, angles, and pressures to create varied textures and effects. You can achieve smooth, controlled areas and bold, textured sections.
8. Mixing on Canvas:
Impasto allows you to mix colors directly on the canvas. Apply one color next to another and use the palette knife to blend them together. This creates visually interesting color transitions and effects.
9. Build-Up the Layers:
Continue adding layers of thick paint to build up the desired texture and dimension. Let each paint layer dry before adding more if you want to maintain distinct layers.
10. Clean Your Tools:
Periodically clean your palette knife or switch to a new one to prevent colors from blending unintentionally.
11. Fine-Tune Details:
Once the impasto areas are in place, you can use brushes or finer tools for detailing and refining specific parts of your painting.
12. Allow to Dry:
Depending on the thickness of your paint layers, impasto paintings may take longer to dry than traditional paintings. Be patient and allow ample drying time.
13. Varnish (Optional):
After your Impasto painting is completely dry, you may choose to apply a varnish to protect the surface and enhance the colors of your finished work.
Remember that impasto is a technique that encourages experimentation and creative freedom. Feel free to explore different tools, layering methods, and color combinations to achieve the desired texture and visual impact in your artwork.
Tips for Beginners
If you’re a beginner looking to try your hand at impasto painting, here are some tips to get you started:
Start with Small-Scale Projects:
Begin with smaller canvases or surfaces to practice impasto techniques before tackling larger works. This allows you to get comfortable with the process without feeling overwhelmed.
Use the Right Paints:
Choose heavy-bodied acrylic paints or oil paints. These paints have a thicker consistency that works well for building up texture.
Experiment with Texture:
Don’t be afraid to experiment with different textures and effects. Try using various palette knives, brushes, or even your fingers to create unique textures in your impasto areas.
Mix Colors on Canvas:
One of the advantages of Impasto is the ability to mix colors directly on the canvas. Use this to your advantage to create interesting color transitions and variations.
Layer Gradually:
Build up your impasto layers gradually. Allow each layer to partially dry before adding more paint. This prevents colors from blending excessively and maintains distinct textures.
Clean Tools Regularly:
Keep your palette knives and brushes clean. Impasto paintings often involve mixing colors directly on the canvas, so cleaning your tools ensures that unwanted colors don’t mix unintentionally.
Consider Composition:
Think about the composition of your painting. Decide which areas will benefit from impasto texture and which should remain smoother for balance and contrast.
Be Patient with Drying Time:
Impasto paintings can take longer to dry due to the thickness of the paint. Be patient and avoid touching or varnishing until the paint is fully dry to prevent smudging.
Learn from Others:
Study the work of artists who excel in impasto techniques. Analyze their use of texture, color, and composition for inspiration and guidance.
Enjoy the Process:
Impasto painting is a tactile and expressive technique. Embrace the process, and don’t be afraid to make mistakes. Many happy accidents can lead to beautiful and unexpected results.
Practice, Practice, Practice:
Like any art form, impasto improves with practice. Keep experimenting, learning, and refining your skills to develop your unique style.
Remember that impasto is a versatile and expressive technique, and there’s no one “right” way to do it. Have fun exploring and discovering your own approach to Impasto painting.
Famous Artists and Some of Their Impasto Works
Impasto has been effectively used by many renowned artists throughout art history. Here are some notable Impasto painters and their artworks that showcase the effective use of impasto:
Vincent van Gogh:
Van Gogh is perhaps one of the most famous practitioners of impasto. Van Gogh’s paintings, such as “Starry Night” and “Wheat Field with Cypresses” are known for their bold, swirling textures and expressive use of thick paint.
Rembrandt van Rijn:
Rembrandt’s portraits, like “Self-Portrait with Two Circles,” demonstrate his masterful use of impasto to create rich, tactile surfaces and play with light and shadow.
Claude Monet:
Monet’s Impressionist masterpieces, such as “Water Lilies,” showcase his skill in using impasto to capture the fleeting effects of light and atmosphere on water and landscapes.
Eugène Delacroix:
Delacroix’s “Le Combat” employs impasto to create a sense of energy and movement in the figures.
Delacroix’s distinctive artistry was defined by his free-flowing impasto technique, marked by the liberal application of thick, weighty layers of paint.
Frank Auerbach:
A contemporary artist, Auerbach’s portraits and cityscapes are notable for their thick impasto and intense, textured surfaces.
Willem de Kooning:
De Kooning, a prominent Abstract Expressionist, used impasto to create dynamic and emotionally charged compositions, as seen in works like “Excavation.”
Chaim Soutine:
Soutine’s expressionist paintings, like “Les maisons,” are known for their heavily textured surfaces and raw, emotional intensity.
These artists demonstrate the versatility of impasto, using it to convey a wide range of emotions, capture the essence of various subjects, and create textured surfaces that engage the viewer on multiple levels. Studying their works can provide valuable insights into the effective use of impasto in art.
