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Walter Wick asks: "Why [do you put] impasto in the highlights and not in the shadows?"

Light hitting the surface of the painting at an oblique angle hit the up-facing planes of the impasto and reflect a highlight that's higher in value than the same white that's in the plane of the painting's surface. Of course that introduces some darker planes too, but the effect can be worth it.

This effect of impasto texture works better when you're looking at the original painting under the right lighting conditions.

You do occasionally see impastos in the darks or overall in a painting. Norman Rockwell occasionally did it, and Lucian Freud often did it. It's an interesting effect, introducing highlights into dark areas, which can create a weird effect.