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A step-by-step approach to impasto painting which is a thick oil paint used to build up a surface as textured as a stucco wall. Addressed to both beginners and advanced painters alike, the author offers advice on paint supports and a variety of methods of attaining diverse effects in the painting of landscapes, still-lifes and portraits. David Millard is also the author of two previous publications on the subject - "Joy", and "More Joy of Watercolour". This watercolourist has now turned to this new oil technique which was practised by artists such as Monet and Van Gogh.
- Sales Rank: #1253572 in Books
- Brand: Brand: Watson-Guptill
- Published on: 1987-10-01
- Released on: 1987-10-01
- Original language: English
- Number of items: 1
- Binding: Hardcover
- 144 pages
- Used Book in Good Condition
Most helpful customer reviews
4 of 5 people found the following review helpful.
Guide to impasto oil painting
By tttiger
Today a little dated, in that the products/colors that Millard discusses are no longer made, supplanted by newer chemically stable substances. Filled with dense text and many, many color illustrations, the book is full of good ideas, if you can cope with some loss of color in the printing inks. A virtual textbook in the artistic use of knife-work, it opens up a world of possibilities for enhancing the texture of painting. I'm an acrylic painter, so I was mentally substituting various mediums for the author's advice on partially drying paint on brown paper to draw the oil out for a drier texture. A lot to read, here, but aimed at the oil painter.
4 of 6 people found the following review helpful.
Surface affects are paramount here
By S. Ladd
Millard's well-meaning and enthusiastic approach is fun and interesting to a point, but his emphasis is only on surface affects and paint manipulation. In fairness, that's what the book title proclaims as the subject. My average 3-star review is more about my own disappointment than his failure as an author or painter. He's a good painter and really expresses his love of painting and sharing it. However, I soon became frustrated with his demonstrations, because I wanted to know and see how impasto painting related to the subject matter at hand. For example, if he paints a house and trees with one or two people in the yard or doorway, he is completely focused on how thick the paint is for the sky, or the side of the building, or how few daubs are needed to show the person. But never does the building, or tree, or human being matter, they are just excuses to use paint.
The illustrations are very good and there are a lot of them, and the paint is indeed luscious-looking. Reading this book is like having a very tasty meal but the food somehow doesn't sustain the body.
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