No, you pour the paint while the white paint and medium are still wet. This helps to spread the paint and cover the entire canvas.
Pour painting with cellular patterns
Yes, the cells are formed when there is a density disparity. Is important that the low density is under and the the the high density poured over for the cells to be created.
The file what cliff just suggested gives you an idea which one denser and which one is less dense. Specific gravity is the density of a substance divided by the density of water (water density=1gr/cm3 =1000kg/m3) So for instance is most likely to have cell formations when you use a very diluted
Anthraqunone Blue (PB60) Specific density=1.51 as base and pour over
Bismuth Vanadate Yellow (PY184) Specific density=6.11 over. Take care that the viscosity of both (how diluted they are) vary the size of the cells. I would experiment with similar viscosity and vary it to see the different results.
Federico Garcia
My Blog
C&C always welcome
“. when someone gives a critique of your work, fear not. It usually means they like or care more of your work than when they just pat your back.” – Tiago
August 5, 2017 at 12:07 pm #1271735
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Try a search in the forum for ‘pours’ as there are a few threads recently which might help.
From reading them, I do believe you are not alone with these problems!
Cheers, Maureen
Forum projects: Plant Parade projects in the Florals/Botanicals forum , WDE in the All Media Art Events , Different Strokes in Acrylics forum .
August 5, 2017 at 2:41 pm #1271743
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Federico Garcia
My Blog
C&C always welcome
“. when someone gives a critique of your work, fear not. It usually means they like or care more of your work than when they just pat your back.” – Tiago
August 5, 2017 at 7:48 pm #1271744
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Federico Garcia
My Blog
C&C always welcome
“. when someone gives a critique of your work, fear not. It usually means they like or care more of your work than when they just pat your back.” – Tiago
August 6, 2017 at 6:09 pm #1271732
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I pour. I do not use floetrol. Tried it but it did not work for me. I use pouring medium to get the cells. There are a bunch of vids out there but you really have to try it yourself. All paints are different and need to be thinned different amounts depending on how thick they are and the colour density. I would not use more than 3 colours as more than that creates mud. And I find once poured essentially it remains the same until dried. Make sure the canvas remains flat. I used a level to get my table absolutely flat. Here is my last one
Carol
“Mercifully free of the ravages of intelligence” – Time Bandits[/color]
Moderator: Acrylic Forum
My websites: Discoveries With Colour Adventures in Photography[/B]
August 7, 2017 at 12:12 am #1271736
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I echo Carol’s suggestion to stick with pouring medium. The benefit pouring medium gives you is that it helps to retain a more crisp line between poured colours. If you dilute it too much with water this property disappears quite quickly and your colours blend. You need very little pigment bearing paint in the mix – only enough to get the colour you want. This will save you an enormous amount of money. Also, the most effective way to create cellular effects is to include a very small amount of low viscosity low density oil in your mixed paint. If you pour paint over another paint that includes a teeny tiny amount of oil additive (well stirred), the tiny oil droplets will migrate upward, dragging lower paint colours upward with them. Experimentation is key, but hopefully I’ve mitigated some of the expense. And please read the MSDS of any additive you try.
[FONT=Century Gothic] [FONT=Century Gothic] Comments and critique actively sought and much appreciated! [/SIZE][/B]
Rick. . . [/COLOR][/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR] pigment storm fine art [FONT=Century Gothic] . . . watch the paint flow![/SIZE]
August 7, 2017 at 8:32 am #1271745
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Also, the most effective way to create cellular effects is to include a very small amount of low viscosity low density oil in your mixed paint. If you pour paint over another paint that includes a teeny tiny amount of oil additive (well stirred), the tiny oil droplets will migrate upward, dragging lower paint colours upward with them.
Thanks for your input Erathil, I would like to know which kind of oil you use or refer to?
if you know a bit of the chemistry I’m also interested in how much is low viscosity and how much is low density in such an oil?
Federico Garcia
My Blog
C&C always welcome
“. when someone gives a critique of your work, fear not. It usually means they like or care more of your work than when they just pat your back.” – Tiago
August 7, 2017 at 10:17 am #1271737
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I’ve experimented with at least 6 different oils and a few different manufacturers for a few of those – thinking back. I’ve had success with several. Two that worked well were artist grade walnut oil and cosmetic grade polydimethylsiloxane. One olive oil and a couple of other artist oils worked as well. I wasn’t convinced that the olive would not yellow the paint significantly over time. While I know a little chemistry (first year engineering university courses) I haven’t invested in a viscometer to measure the viscosity of the oils, nor have I weighed them to calculate density. And every oil (every different manufacturing process even) might have a different ratio of viscosity to density. Everyone will need to test their own oils, as manufacturers will have different processes everywhere. Depending on the viscosity and density, a single droplet of oil to 50 ml of pouring medium is a good place to start The guideline I’d suggest for selecting an oil is that the density of the oil is low enough if most of it floats to the surface through a dollop of pouring medium. And I happened to find a manufacturer of polydimethylsiloxane that published the viscosity with their product. 500 centistokes was a low enough viscosity to see effects, but a treadmill lubricant that was very clearly more viscous (simple observation, as that brand didn’t publish viscosity) had no observable effect. One thing I don’t recommend, that I see artists and crafters doing all the time, is using commercial mechanical lubricants like WD40 Specialist Water Resistant Lubricant. These products include a combination of lubricants (e.g. the oil), solvents, and propellants, and the proportion of the oil is generally very small. The solvents and propellants are generally not good for humans, like the spirits used in oil painting that so many artists become sensitive to over time. So I always recommend to experimental artists to read material safety data sheets before they use any secondary product with their art supplies and use more caution than is recommended by the manufacturer.
[FONT=Century Gothic] [FONT=Century Gothic] Comments and critique actively sought and much appreciated! [/SIZE][/B]
Rick. . . [/COLOR][/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR] pigment storm fine art [FONT=Century Gothic] . . . watch the paint flow![/SIZE]
August 7, 2017 at 12:57 pm #1271747
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Hi .. you need to watch Annemarie Ridderhof on YouTube. Go to the links under any video and you will see a link to Google documents .. download the “Keywords” document and look up by the key word any issue that you are having with your pours for a list of all the video numbers where Annemarie covers it. Be careful, she is addictive…. over 30,000 subscribers adore her!
August 7, 2017 at 3:11 pm #1271733
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Hi Rick, I tried WD40 as that was all I had on hand at the time. It did not make cells. Too much oil causes issues too, so it is a fine line between enough to get the cells and not too much to push the pigment completely off the canvas leaving while holes.
Carol
“Mercifully free of the ravages of intelligence” – Time Bandits[/color]
Moderator: Acrylic Forum
My websites: Discoveries With Colour Adventures in Photography[/B]
August 7, 2017 at 4:38 pm #1271738
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Hey Carol, I’ve seen a lot of people using WD40 Specialist (with silicone oil). One of the more successful approaches using it is to pull (aka swiping) one paint colour (ideally denser) over another with a knife and then spritz it with the WD40 Specialist. Yeah, I agree that too much oil can leave pock marks if the tiny oil droplets join up as they rise through and become large droplets. That is why I suggest starting with one droplet per 50ml of paint. I’m guessing that is somewhere between 1:250 and 1:1000 ratio of oil to paint. The pock marks can actually be an interesting texture rather than defects, of course…
[FONT=Century Gothic] [FONT=Century Gothic] Comments and critique actively sought and much appreciated! [/SIZE][/B]
Rick. . . [/COLOR][/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . . [/COLOR][FONT=Century Gothic] . [/COLOR][FONT=Century Gothic] . . . [/COLOR][FONT=Century Gothic] . . . [/COLOR] pigment storm fine art [FONT=Century Gothic] . . . watch the paint flow![/SIZE]
August 7, 2017 at 4:45 pm #1271734
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Rick, I tend to use 3-4 drops in 50 grams of paint solution (I don’t know what that equates to in milliliters). If it is mixed in well it works fine. Over mixing creates really tiny cells. I am still struggling with the size of the cells. Sometimes I want larger as I think it gives a more interesting effect, or not torch the whole surface of the paint and leave some areas un-holey.
Carol
“Mercifully free of the ravages of intelligence” – Time Bandits[/color]
Moderator: Acrylic Forum
My websites: Discoveries With Colour Adventures in Photography[/B]
Introduction: Acrylic Pour Painting – Dirty Pour Technique
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Create a beautiful piece of art for your wall with acrylic pour (also known as fluid painting.) This mesmerizing technique is done with acrylic ( water based) paints. You can use artist’s paints, craft paints or even house paints as long as they are water based. I used canvas, but you can use this technique on trays, table tops, cheese boards . all kinds of things!
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Step 1: Supplies
- Stretched canvas
- Acrylic paint (4-5 colors) I used Liquitex Light Blue & Titanium White, Americana Spa Blue & Lavender and FolkArt Metallic 14k Gold)
- Pouring Medium
- Disposable cups
- Mixing sticks
- Latex gloves
- Dropcloth
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Step 2: Mix the Paint
Select your paint and mix in disposable cups with craft sticks. The paint is thinned with water and mixed with pouring medium to make it flow better. The consistency of all the paints should be the same, and works best when it is like pouring syrup or honey. It should flow in a steady stream off the stick into the cup and leave a ribbon on the surface which will disappear in about 2-3 seconds. I used a mixing ratio of equal parts paint, water and flowing medium.
For this project, I used a 24″ x 30″ canvas. The total amount of paint used was about 28 ounces. For a smaller canvas such as 12″ x 15″, about 8 ounces of paint is enough.
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