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Old 02-28-2018, 06:28 PM
Ribera Ribera is offline
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how to impastó?!!. . .

I'm interested in the creating of select impastóed regions
in my work.
The paragon there, of course, the Old Masters: Amongst
contemporaries I fail to see the ability to create embossed-
regions in select areas with nearly such skill. For that, I've
come to the conclusion one requires another element into
the paint.
I've, of course, assayed a few of the potential alternatives,
such as a few of the impastó mediums and waxes out there,
all in vain - None of 'em've really allowed me to obtain the
impressive impastóes others have so - even in the not so
fine shapes mine musta' been in.
So I appeal to the expertise out there - Any knowledgable
about proper means to obtain what a few of the Masters
could (cold-wax medium, other things can get tossed
in?!)?
r

Last edited by Ribera : 02-28-2018 at 06:30 PM.
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Old 03-01-2018, 04:03 PM
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ronsu18 ronsu18 is offline
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Re: how to impastó?!!. . .

not an expert on painting but i've used liquin impasto in everything for five years for prolonging tube life and for overnight dry time. mix 20% in paint, mix thoroughly, then mix thoroughly again. wait 15-20min. add very, very small amounts of oms to regulate paint behaviour and stroke visibility. very little goes all the way. too much and your session is cut short when your brush dries fast into the canvas. there's a learning curve. clean palette after session if using an actual palette. wipe brushes empty continually during session and quick-clean them in preferred cleaner.

search wetcanvas for impasto to find descriptions on sculpting on canvas with different methods, for instance with white paint, then glaze over with color when happy with the shape.
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Old 03-02-2018, 06:48 AM
Harold Roth Harold Roth is online now
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Re: how to impastó?!!. . .

If you are talking about things in Old Masters paintings like jewelry, gold bullion, or 3D haloes, then my understanding is that those were made with gesso, not paint. I even ran across a reference to people who specialized in making 3D haloes. I think they used something like a pastry bag and stencils to apply the gesso.

If you are talking about impastos like in The Jewish Bride (which is truly incredible in closeup), from what I have read, he added chalk, ground crystal, or smalt to his paints and then glazed over it. You can tell that he sometimes was pressing the whole side end of the brush against the paint. If you like him, there's a pretty good book called "Rembrandt: The Painter At Work" that goes into his methods in detail.
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Old 03-02-2018, 05:03 PM
Ribera Ribera is offline
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how to impastó?!!. . .

Your intrigues me, Har.
From your contribution (although in my case, I admire the
impastóes in the flesh, which really pulls one's eye there), it
appears there was, in fact, a trick: It might not, in fact, have
been accomplished with paint!!
In my endeavors to achieve what they did, I feel like I've
been endeavorin' to circle da square - I figured perhaps the
W.C. forum'd answer some o' these questions.
As stated, I've procured a few means to achieve what I could,
and havin' 'em not bad, particularly in regions of not such
consequence, like the sidewalk on a landscape, but when I
really wanna knock 'em out, they appear to not cut the
mustard.
r
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Old 03-03-2018, 07:09 AM
Harold Roth Harold Roth is online now
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Re: how to impastó?!!. . .

From what I've read, for flesh, Rembrandt would build up the colors and then take a soft brush and drag it over the surface to create that peculiar texture. Then he'd put a glaze over it and wipe it off. It would remain only in the little pores and crevices.
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