“Poured” works of Jackson Pollock
In 1947 Pollock first used the process of pouring or dripping paint onto a flat canvas in stages, often alternating weeks of painting with weeks of contemplating before he finished a canvas. This process allowed him to record the force and scope of his physical gesture in trajectories of enamel or aluminum paint. At the time, he said these abstract trajectories “veiled the image,” or the traces of figuration, that had often been apparent in his earlier work. Later research indicated that his “veiling” constituted a form of free association from which he began most of his major paintings. The results, in effect, were huge areas covered with complex linear patterns that fused image and form; these works engulfed the spectator in their scale and intricacy. A whole series of paintings—beginning with Full Fathom Five (1947) and Lucifer (1947) and proceeding through Summertime (1948), Number Ten, 1949 (1949), the mural-sized canvases of 1950 such as One, Autumn Rhythm, and Lavender Mist, and the black and white Number Thirty-two, 1950 (1950)—display the infinite variety of effect and expression he achieved through the method of “poured” painting.
During the late 1940s and early ’50s, Pollock had one-man shows of new paintings nearly every year in New York, his work being handled by Peggy Guggenheim through 1947, the Betty Parsons Gallery from 1947 to 1952, and finally by the Sidney Janis Gallery.
In 1951 and 1952 Pollock painted almost exclusively in black enamel on unsized canvas, creating works in which his earlier imagery is evident. The configuration in Number Twenty-three, 1951/“Frogman” (1951), for example, relates to Bird and also to drawings Pollock did for his second Jungian analyst. Other important paintings from this phase are Echo (1951) and Number Seven, 1952 (1952). In 1952 he returned to colour and mural scale in Convergence (1952) and Blue Poles (1952). He created his last series of major works in 1953; Portrait and a Dream, Easter and the Totem, Ocean Greyness, and The Deep, among other works, recapitulate many aspects of his former styles and images. Though his production waned and his health deteriorated after 1953, he did produce important paintings such as White Light (1954) and Scent (1955) in his last years. He died in an automobile accident in the summer of 1956.
Flow Control Pouring Medium
Our Cell Activator Flow Control is used to create a Cell Activator that works with our paints similarly to the CA in the Sheleeart Bloom Technique.
Both our Flow Control products increase the flow of paints to achieve the required flow in acrylic pouring.
Both increase the gloss of acrylic paints and contribute to a durable finish that is UV resistant, water resistant and chemical resistant.
Both have low VOC (below 40g/litre) and are formaldehyde free.
The two Flow Controls, however, play a very different role in acrylic pours.
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 all 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.
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)
Palette knife swipe in the Sheleeart bloom style
Get Creative: Things you can try
- Using Metallic Paints in blooms with a CA can be tricky. Metallics are not specifically formulated for Acrylic Pouring and results can be variable with strange looking cells and colour breakage / splitting occurring as the paint dries. The best way to avoid colour breakage (also called splitting) is to ensure that all the colours in the technique have the same consistency (same flow). As Metallic Paints have a high flow, they tend to be thinner on their own than other colours that are mixed with Original Flow Control. We have achieved good results by mixing our Metallic Paints with normal Acrylic Pouring Colours. They should, however, not be mixed with white paint.
- The recommended mixing ratio for colours used in a bloom technique is 1 part paint with 1 part Original Flow Control. Usually the Cell Activator Flow Control is only used in the top CA. We have, however, seen some awesome results when mixing colours with a combination of Original Flow Control and Cell Activator Flow Control (2 parts paint,1 part Original Flow Control and 1 part Cell Activator Flow Control).
- A powerful creative tool is adjusting the amount of CA that you use. By using more CA, you can get more CA left on the surface of the dried artwork.
Try your own combinations and let us know what you achieve. Perhaps we can share your experiences here as inspiration for other artists.
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.
