A lifting and unstable paint layer can be caused by a canvas or board not being properly prepped, due to the artwork not having long enough to dry, or due to the sheer weight of the paint. When pouring it is important to have a plan of action, as not to improvise to the point of an overly thick paint layer which will take a very long time to dry, if ever. A very thick surface might remain sticky and attract dust particles and debris as soon as it is exposed to the air.
Paint measurement for acrylic pour chart
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One of the most frustrating issues I’ve had as a new acrylic pour artist was figuring out exactly how much paint I need for my acrylic pour.
Too much and you push off the outside of your design while tilting.
Too little and you can’t cover your painting surface.
This acrylic pour paint calculator will give you a good approximation of how much paint you need for your acrylic pour.
Please keep in mind that every pour is going to be slightly different based on the medium, the paints, the pouring surface, temperature, etc. More information about these factors can be found in this article: How Much Paint to Use for an Acrylic Pour.
I encourage you to keep track of how much paint you use for your pouring style and adjust the amounts as necessary.
Don’t forget to download and install my acrylic paint calculator cheat sheet that has common canvas sizes and the amount of paint you need for each.
Hello, I’m David. I am a Computer Technologist by trade and I have always envied artistic people. For years I have been enchanted with all the amazing acrylic paint pours I see on social media. Come to find out, even a left-brained nerd like myself can create beautiful artwork with fluid acrylic pouring. I created this website to chronicle all the things I’ve learned on my pouring journey.
1. Traditional Pouring Techniques using our Original Flow Control, Acrylic Pouring Paints and an oily Cell Former
Our Acrylic Pouring Paints are usually thinned by mixing them with our “Original Flow Control” in a ratio of 1:1 by volume. When an even higher flow is required, do not add extra Original Flow Control but add a little water (always stir water in well).
You can also use our Metallic Paints and Bright Neon/UV Paints in the same way for Acrylic Pouring. Our Metallic Paints will require less Original Flow Control to achieve the required flow and for some techniques they can be used as supplied without thinning.
Traditional techniques include flip cup pours, straight pours, dirty pours, puddle pours, ring pours, marble pours, dipping pours, open cup pours, kiss pours, string and chain pull pours, split cup pours, swipes, Dutch pours and others. There are numerous variations of these techniques, many of which have their own names. To form cells in most of these techniques, add a little silicone or Turbo Cell to some or all of the colours after mixing the paints with our Original Flow Control. Don’t stir much after adding the cell forming chemical, usually just a ‘swirl’ is optimum.
2. Bloom Techniques, Swipes and Dutch Pours using our Cell Activator Flow Control, Original Flow Control and Acrylic Pouring Paints without oily additives or residues
Some newer fluid art techniques have been developed that give cell formation without the need for oily additives and with no oily residues. In these techniques, cells and lacing are created by complex physical and chemical interactions between the various components used in the pour. A top layer of paint known as a “Cell Activator “or “CA” is prepared usually by mixing Australian Floetrol with Amsterdam Paint (the original Sheleeart CA). The required paints and mediums are expensive and often difficult to obtain.
Now you can obtain prolific cell formation and beautiful lacing using these techniques and only Bastion Paint products. This is a superb development by Bastion Paint that has raised the bar in acrylic pouring art. All our products required for these techniques have been formulated to work together.
We cannot give guidelines on using other manufactures paint brands mixed with our Cell Activator Flow Control or used under the CA. Our Pouring Paints, Original Flow Control and Cell Activator Flow Control have all been formulated to work together to generate the beautiful cells and lacing.
Preparing a Cell Activator (CA) for Bloom techniques, Swipes and Dutch Pours
This CA is used as the top layer in Blooms, Swipes and Dutch Pours where no oily additives are involved. It can be spread by blowing or swiping. Crisp cells and beautiful lacing form naturally without oily additives and with no oily residue.
Make the CA by mixing any of our Acrylic Pouring Paints with our “Cell Activator Flow Control”. Our recommended ratio is 1 part paint with 2 parts Cell Activator Flow Control (parts by volume).
All of our Acrylic Pouring Paint colours work in the CA so you can select any CA colour that you want.
Different colours in the CA tend to give slightly different effects, for example we have seen that the cells formed by our Titanium White in the CA differ from those formed by Carbon Black in the CA. We suggest that you begin using Titanium White in the CA.
The mixed CA will thicken up somewhat during the first day or two. After that it will remain stable and won’t thicken further. This thickening impacts cell formation slightly and when thicker a bit more of the CA colour will be visible on the surface. CA that is a bit thicker does not blow out as easily. You can use fresh (thinner) or aged (thicker) CA as both work. If you prefer the results with thinner CA, then use fresh CA or thin older CA with a very small amount of water.
Preparing the Paints used under the CA
The paints used as colours under the CA are also very important to achieve the cell forming chemical and physical interactions. All our Acrylic Pouring Paints give good results. Our Acrylic Pouring Paints should be mixed with our Original Flow Control (usually in ratio of 1:1 by volume). An important consideration for any pour is to make sure that all the paints are mixed to a similar consistency.
Our Metallic Paints also work under the CA but, for best results, should be used in combination with Acrylic Pouring Paints. Their results are less predictable than that of our Acrylic Pouring Paints. It appears specifically useful to have an Acrylic Pouring Paint directly below the CA and Metallics below that. Our Metallic Paints can be used as supplied for bloom type techniques where paints are generally thicker than many other techniques. (If you need to thin them for other techniques then only mix in a small amount of Original Flow Control.)
There is a strong tendency for colours that are directly below the CA to be less prominent in the final art. Colours further from the CA (further down) tend to be become more prominent. Using this tendency, you can start to control the final appearance, so it is not just a matter of luck.
Bloom type technique using only Bastion Paint products (starting guide)
A special thanks to Traci Scerri who tirelessly tested all our developments and determined these starting ratios. She did hundreds of blooms as we developed our products for these techniques. She gives classes in various paint pouring techniques in Johannesburg. You can visit her website is www.traci-art.co.za for more information and links to various social platforms.
All mixing ratios mentioned are volume ratios.
Mix ratios that work best are dependent on numerous variables including technique. Our system is robust, but the artist still needs to develop “a feel” for the correct flow of the various components and may prefer the results obtained with slightly different ratios.
If you do want to use a different thickness: For a lower flow (thicker mix), use less Original Flow Control or Cell Activator Flow Control. If you require a higher flow (thinner mix), we recommend adding a little water. The flow of paint is very sensitive to water addition so add water very carefully. It is a good idea to add water via a spray bottle or dropper so as not to add too much. Water must always be mixed in well.
Pillow (2:1)
2 parts Acrylic Pouring Titanium White mixed with 1 part Original Flow Control.
(We have not tested all our colours in the pillow but those we have tested all work. You can experiment with our other colours in the pillow as the pillow can also form cells that bloom up.)
Colours (1:1)
Any of our Acrylic Pouring Paints mixed with our Original Flow Control (1:1 by volume).
Any of our Metallic Paints used a supplied. Our Metallic Paints should be used in combination with Acrylic Pouring Paints below the CA and not on their own. Try and make sure that both paints and metallics are mixed to a similar consistency. Our metallics require no thinning in bloom type pours.
Cell Activator (1:2)
Any of our Acrylic Pouring Paints mixed with our “Cell Activator Flow Control”. 1 part paint with 2 parts Cell Activator Flow Control.
We have found that sometimes 1 : 2.5 gives even better results so you can experiment with this.
Basic Bloom Technique
Spread the pillow out as required.
Pour the colours over the pillow.
Pour the cell activator over the colours.
Spread by blowing or swiping.
Spinning or tilting are also part of the technique and also ensure that the final paint layer is not so thick that it will crack.
Many variations of this basic technique can be used.
Videos
After the development of our Cell Activator Flow Control, it was tested and tested. Traci Scerri tested various mixing ratios and colour combinations in the pillow, colours and the CA. The results of her tests are shown in this short video (less than 2 minutes). At the time the video was made we still had not introduced our new product labels so don’t let old labels in the video confuse you.
Palette knife swipe in the Sheleeart bloom style
Sheleeart Bloom Mixing Tutorial: Video demonstrating how to mix our paints for a Bloom Pour
Sheleeart Bloom Tutorial: Video demonstrating a Bloom technique (see above video for Paint Mixing Tutorial)
Watch numerous short videos (less than 1 minute each). Some of the shorts show what our Cell Activator Flow Control can do, others show our Metallic Paints. We regularly add new videos. These videos may give you some great colour ideas. You can pause any particular video and read all about it, including the products used and mix ratios: Watch
3. About the pigments we use in this paint range
- Cadmium based pigments are well known in many bright art paint colours including reds and yellows. We don’t use any cadmium-based pigments but our bismuth vanadate (lemon yellow) and diketo-pyrrolo pyrrole red and orange pigments are excellent, far more environmentally friendly substitutes.
- All our oxide colours are earthy. Some paint manufactures call the Red Oxide colour Venetian Red and the Yellow Oxide colour Yellow Ochre. Chrome Green Oxide is a dull green and an extremely natural colour well suited to African landscape scenes.
- We only have two colours that tend towards being pastel shades: Cerise Pink and Blaze Orange.
- Quinacridone Maroon is deeper and bluer than Quinacridone Magenta which has a brighter hue.
- Ultramarine Blue is a bright blue with a red undertone while Phthalo Blue is a little less bright and has a green undertone.
- Ultramarine Violet is a bright violet while Dioxazine Violet has a deep, powerful violet colour.
Keep out of reach of children
All our products should be kept out of reach of children under 5 years and anybody who may tend to place items or liquids in their mouths should be supervised. Even packing can become a choking hazard.
How do I display and protect acrylic pour art?
If you have purchased a piece of acrylic pour art, it may not be in your control whether or not the original artist has completed the recommended steps for a safe and successful artwork. However, you can avoid accidental damages through gentle handling of the piece and the correct display.
Acrylic pour art should not be displayed in direct sunlight, as the heat and UV rays could have an adverse effect on the paint, in some cases disturbing the chemicals or causing an atmospheric fluctuation which leads to cracking. We recommend placing the artwork in a professionally fitted frame behind glass, as such a thick paint layer may remain sticky and attract dust very quickly.
Above: it is important to display acrylic pour art away from direct sunlight and in a location with even temperature and humidity
Glass is also recommended as the surface of acrylic pour art is not always varnished and is therefore openly exposed to accidental spills, staining or scratching.
Even temperatures of 20 degrees celsius and around 40% humidity are still recommended when the piece is on display, as well as during its creation. This is important as it will avoid any damages which occur due to an extreme or changeable atmosphere, including blistering, cracking, or more drastically flaking.
Above: blue and black acrylic art with very precise placement of paints
Can acrylic pour paintings be restored?
Yes, an acrylic pour painting can be professionally restored by a conservator. Our team specialise in all paintings, this includes contemporary pieces of any variety.
A cracking or broken paint layer can be gently reapplied and adhered to the canvas or board with an injection of specialist fluid, where appropriate a heat treatment can also be applied to consolidate any instability. Next, the cracks can be filled with a plain white substance to create a strong and even surface.
Above: acrylic pour art can sometimes be formed to look like planets with a star filled background
The cracked areas, now filled, can then be retouched with precisely matched pigments. To get the same effect, artistic skill is used, and if there are large areas of damage a small funnel can be used to fill in any visual disturbance with a matching shade or combination of colours.
In some cases, the artist themselves may want to help with the final step, in which case our team can stabilise the artwork and return it for a new approach in the artist’s studio or at home if this is a personal project. Some artists or hobbyists may choose to fill these cracks with gold, similar to a Japanese kintsugi repair which is used on broken ceramics, or to bring in a completely new colour.
Above: a bright acrylic pour painting with vivid blue and orange shades
How can we help?
If you have any questions about acrylic pour art, or have damaged acrylic pour paintings in need of restoration, please get in touch with our helpful team who will be happy to assist.
To get in touch please email us via [email protected] or call 0207 112 7576.
