Akrill

Paint becomes a physical thing you can see the depth of. Each stroke is an object with a ridge and a shadow, and the scene is rebuilt out of those marks.

Colour is pushed past what the scene would really carry. Blues and yellows at full strength, which is why the look survives at thumbnail size when a subtler painting would turn to mud.

Impasto is paint laid thick enough to hold the shape of the brush. The ridges catch light on one side and cast a small shadow on the other, so the surface reads as three dimensional before the picture does.

Forms get simplified until one stroke carries a whole feature. A cheek is a mark. A sleeve is two marks. That reduction is what separates thick paint from a texture laid over a photograph.

High chroma means the colours sit near the edge of the palette rather than the middle. Shadows go blue or violet instead of grey, and highlights go yellow instead of white.

Use it on a single strong subject with a clear silhouette. A face, a figure against a plain ground, a boat on water.

Skip it when detail has to survive. Text, small objects and crowds all disappear into the strokes, and a scene that depends on them will come back unreadable.

Canvas is about the support. The weave of the cloth shows through the paint and the whole frame reads as a painting, in any style. Akrill is about the thickness and the colour.

The check is what the texture is made of. Ridges of paint standing off the surface mean Akrill. A regular woven grid under thin paint means Canvas. A frame can carry both, and then the thick strokes are the part you name.

A detailed drawing survives under the thick paint, and the result reads as a filter. Say the forms are simplified into brush marks, and cut the detail out of the subject description.

The other failure is chroma that drifts back to natural. Name the colours you want at strength, and ban smooth blending so the model stops averaging them together.