Acrylic Pouring Essentials | Skye Bothma | Skillshare
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7 Lessons (27m)
    • 1. Introduction

      0:45
    • 2. Preparing the workspace

      2:04
    • 3. Tools

      3:21
    • 4. Suitable surfaces and priming

      6:02
    • 5. Paints and additives

      5:16
    • 6. Mixing the paint

      4:44
    • 7. Course Project

      4:30
11 students are watching this class

About This Class

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A comprehensive introduction to materials, tools, paints and additives needed to get you started in the exciting art of painting with liquid acrylic paint. This is suitable for absolute beginners who have no prior experience with acrylic paint. This course forms the foundation for working with liquid acrylics and my future courses will go into more detail on various painting techniques.

Each lesson includes summary slides at the end to help you recap on what you've just learned.

Transcripts

1. Introduction: welcome to my acrylics Pouring essentials course. This foundation course will help you learn how to sit up your workspace. Find useful tools for using with liquid acrylics. Find out what surfaces are useful for using liquid acrylics. Teach you how to prime your surface with Jesse. It will also teach you how to determine what types of critic paints to use what types of additives you'll need to be adding to your paints and how to mix different types of acrylic paints with additives to make up the right consistency and will end was making this wonderful project. 2. Preparing the workspace: hello and welcome to my acrylics pouring essentials course in this session, I'm just going to talk you through what your workspace should look like before you get started. Acrylic pouring is a very messy hobby, So I suggest that you sit your workspace up before you get started to avoid spills and splashes on my table. I've got Shara curtain underneath and then I've got layers off scrap paper, old newsprint, even old cheats whatever you like, but against it against the background, you'll see it got another shower curtains set up so that any splashes and spills that go that way can protect my wall. The next thing you'll see as I've got selection off drying Rex, these are just ordinary baking trade. Rex on. These are great for when you work with your canvases to be placing the canvas on tops of it , all the paint can drip off over the summits. What you can also do is actually put another canvas underneath, which you can then use to catch the spills and splashes and use that as an use you painting in itself. The other things you'll notice that I've got here is I've got a bucket. I suggest if you want to reuse your cups and things have that filled up with water and a bit of detergent, and then as soon as you've finished with a cup, you just plop it in the bucket so that you can clean it up later. You'll notice there's also a fire extinguisher, which you'll need if you work with a blowtorch when we work with Silicon Oil. Otherwise, that's pretty much the work spice, and I look forward to seeing you in the next session. 3. Tools: controls course in the session, I'm going to show you a quick overview off tools that will be using in the course and various other ideas that you might use later on to start off with. You'll be looking for selection of brushes, just ordinary white brushes. If you can find one. A rubber brush is really helpful, and that is used for applying the GSO onto the canvas, which I will be showing you in a separate decision on also sandpaper as well. It's used for preparing the canvas, and I'll show you that in another decision. Then for playing with the paint. Once we plied onto the canvas will be looking at things like a skewer, which we could be making patterns, marbling patterns in the paint, even Popsicle sticks, which you can use either that mixing the paint or palette knife. An ordinary kitchen knife is the same for spreading the paint on the canvas. Ordinary blow straws drinking straws, which will use for blowing against the pattern, gates the paint to make patterns on the canvas. Other little ideas you can use weaken. Try moving the paint around with a sponge spray bottle if you want to add some spatter or stars or just little dots on top of the painting. We can use spray bottle for that little sweets squeezy bottles as well. That'll help us add paints in a very thin line on top String week, I'll show you how to make patterns using strength, which we can then use to drag the paint around on the canvas. Caps will be losing lots of these for mixing your paint and for pouring them on to the canvas. I'll also show you things that we could do with a colander. So just go to your local junk shop and see if you can get an old calendar, which we can use for your painting. Also a ordinary turntable. This is just a cake turntable this you can use for putting your canvas on top to hold the canvas, and then you could be moving the canvas while you're playing with the paint. And finally, if we're when we get to the point of using silicon oil in your painting, you'll need a heating tool. This is just a ordinary and lighter fluid torch, or you can use a kitchen blowtorch or this case this one is an electric heat tool. It's basically like a bloke. Hoeveler it. Dr. It's a lot hotter than an ordinary hair dryer, so I wouldn't suggest you use a hair dryer. Also, it doesn't blow as much as a ordinary here dry. So this is be used just for heating rather than blowing us such breath. Anyway, I will show you that in another tutorial as well. So that's basically a quick run down off the kind of tools will be using in this course. 4. Suitable surfaces and priming: hello and welcome back to another session off my acrylics pouring essentials course in the session. I'm just going to talk you through the different types of surfaces you can use in your paintings. Now, for a critic pouring, I really suggest that you use a very firm surface, so I would be looking at something like a board or a stretched canvas, which is on a frame. So something like this is going to be much more suitable for pouring on the same with that one. The reason being you can try it. A canvas panel that can work. The only problem with the canvas panel and the same with canvas paper, for instance, or any other kind of paper, really is. The pouring paint is very heavy, and it's also very moist, so it's going to cause your panels to warp and the papers also just not going to be able to hold it. So I really don't suggest that you use those two so well, pretty much put those two away. So here is your canvas. It's usually comes already primed to you can actually use it as it is now, though, if you notice there's quite of surface texture to it, which is basically there. You can see it now. Better is the linen, which has bean covered in a certain in layer of juice. Oh, but that has showing its We've still through that layer of gesso, which is perfectly fine. But you'll find that particularly with Pillet critic pouring, we want to really smooth, glossy surface. So if you use that as it is now, it's going to look quite pince it. So what we'll do to avoid that is we're going to prime it with Jason. So we have my Jason so and you can use just a ordinary paintbrush. Any kind of paid brush from a hardware store or an art shop is perfectly fine, though. With the Norden Eri Paintbrush, you'll find that you'll get quite a lot of lines in in the surface as you painting it on, so you'll see quite a lot of lines in the which is certainly fine, because we will sand down later on anyway. If you can, I suggest you find a rubber blood brush with the CIS pay deaths blender brush. You'll get these of the art stores and there probably a little bit more expensive. But when it comes to applying just so there or fabulous because you'll find ours, I'll show you. Now when you apply them, it gives you a lot more smoother finish, which is what we're looking for. So if you look at the top of off this part, it's really a lot more smooth than the bottom off the UN primed part of the canvas. So we'll go ahead and just finish that off. Okay, way we go. It's pretty much done. I believe that to try you're finished. Product may have a little bit of putting on and a few rough edges in it. So I suggest you just take a piece off sandpaper. This is a waterproof, abrasive paper. It's great. 300 with thereabouts. So just mori sandpaper and we'll just stand down Theo surface. Getting rid off any rush lines brush. Okay, a paper water, Mr. Wipe off the dust. Like so. Okay. No, you'll see. That is a lot more smooth then. Our original surface on that will give us a much more glossy look once we're finished with the applying of the paint. Okay, Well, I'll see you in another station 5. Paints and additives: in this session, we're going to talk about different additives and types of paints that will use in a critic pouring. Okay, First, we'll have a look at the paints that we use in a credit pouring by. The name suggests a chronic pouring. Uses acrylic paint well. Paints be far too slow drying and water car will just be far too thin. So now we'll just dive straight into looking at the different types of acrylic paint on the left hand side of here. We've got liquid acrylic paints, which really are a lot more preferable in using with a credit pouring because they're already very liquid for use with are pouring mediums. I'll put those theater no. And then, of course, the other type of a credit paint, which you could be using, is your paste type paints. This is a much more thick paint. We've got our different types of acrylic paints that I've now divided them up into artist quality paint and student or craft grade paint. Now you can certainly you student or craft paints. There's no problem with that, and they'll give you a very satisfactory look. But with a critic pouring, I would certainly suggest if you can afford it. Go for your artist Quality paves the reason being that artist quality paint is already really concentrated pigment. The student paint because student paint and craft paint because it's cheaper, it's got or the reason it's cheaper is that it's got less pigment in it, then artist quality. So you've got a really good paint, but it's not nearly as concentrated as the artist paint. I'll have a look at our additives. We could just use a fluid a chronic like this one neat, but you'd end up using an awful lot of paint, and that could run quite expensive in the long run. Also, if you're using a paste paint like this one, you need to fill it down quite a lot to make it liquid enough in order to be able to pour it. So now we'll look at what you would use to send it down. If you want to just practice and get a feel for pouring equips, you could use craft gloopy. Be a as the pouring medium that's just fine for practicing, and that certainly find for that. However it does going but yellow and crack a bit after time, and it is also very thick. So in order to make this more liquid, you be ending up adding a lot of water to it to get more liquid. So if you want to experiment with you pouring a quote, critics definitely use a PV a blue. No problem there, but for the purposes off the course, where you won't really play with that one at all. Sorry for are for sitting down our paint and creating a liquid paint. We're going to be looking at a pouring medium now. This is basically in acrylic medium, which is quite fluid, and you'll add that to your paint to send it down. But what that does, as opposed to using just plain water, is it retains the paints, vibrancy and color and its adhesion properties, so you can use this tooth in your paint down and you won't make it any more dilute. And it will still stick to your surface really well. So that supporting material medium I've got here also a fluid flow aid, which is almost like pouring medium. Except it's a lot more fluid. So what I tend to do is I start with my pouring medium, and then I'll add flow aid instead of water to get that final liquid look and feel that I require on our final relative that will look at this silicon oil. We won't use this in this course, but in my following courses will be using it as an additive to our critic Pouring paints. This use is used to create cells and bubbles, and it really causes create some fantastic patents in the paint's You're going to buy your silicon oil. You can get it at any hardware store. Just ask if you're not sure what it is and make sure it's quite a liquid one. You can get silicon oil that's in almost a general form, and that's not going to be suitable. You wanted to be able to run quite easily. This one I got in Japan off which side online, So have a look online. If you can't find it in your local hard restore. Okay, you in the next session 6. Mixing the paint: and in decision. We're going to look at how to mix your paints for pouring. Okay? Firstly, I'm going to show you how to mix your paints using a paste paint. Firstly, I'm going to take the pouring of medium, and I'm going to put in quite a bit of the pouring medium. I don't have to be completely accurate in your measurements. It's mostly just by look and feel. You'll use it, but that's a that's probably about two tablespoons, no ad, my paste paint. And what would probably put about the same amount in this in one part pouring medium to one part tight to stop with. Okay, that's how baseline. Okay, and now we'll just mix that. Okay, okay, so I've mixed the paint. This is the paste paint with the pouring medium, and as you'll see, it's more liquid. But it's still quite groupie, so we couldn't really use it at the state he ate. Just let it down Mawr. You could use water, or I prefer to use flow aid. The reason being mostly doesn't dilute your paint and also keeps the cohesion. The adhesion forces in place so that the paint sticks, whereas water will dilute it to the point that it will just wash right off. So I'm just gonna put a few drops in there again. You don't have to be terribly at here. It it's just going by field, exciting. Still a bit more so for re added about a list Harper tablespoon of that flow aid. But again, it's really depends on your paint. Depends on the poor in medium that you're using. So it's just a matter of going what you got off, How much to use. The idea is that we're basically looking for a really thin consistency, which were we've got there. Yeah, that's that's coming up right now. Yeah, that's that's not too big. Okay, so put that one aside. No, we'll do the same. Percy's again, this time during the fluid acrylic. So again, I'll put in some poor medium into my cut again about two title spirits, and then I'll use the float acrylic. Now this one. As you'll see compared to the paste paint, is already quite fluid, so that's coming out quite easily, so you could actually hears it like that in your painting. But it's just still a little bit too thick, and you'd also be using for a lot of pain that way. Accident. Okay, So as you can see, this is the fluid acrylic and just pouring medium. I haven't put in any flow aid in this one, and it's already I really good luck, So we'll complete. That's two together. So this one still a little bit more creepy than this one. So definitely if you can get hold off a fluid acrylic rather than a paste one. Go for the fluid. Well, there we go. I'll paint is mixed and ready to go. 7. Course Project: for the project, you're going to need a canvas. This is an eight by eight canvas, which has already been primed with Jay. So plus a piece of plastic, which is large enough to cover the canvas. And we'll need three mixed paints any colors of your choice. And I've got my bucket and paper tell for cleanup. This is going to be a simple poor. So I'm going to start with the white and just pouring random patterns on my canvas. Okay, All over. No particular order just rendered. And over the ages doesn't matter if you're gonna be make a miss. That's all part off the person. To put that aside, I'm going to do the same with the read going a little bit more full parts that I haven't done. Blue, more blue, I think a little bit of the proposal. Not too much because I think that's all gonna mix up already on the not top it off with a bit more white. Uh, looks pretty good as it is already. But our final idea we're not gonna lay the plastic over the top and just praise down trying to get the pain to spread over the age. Well, I just wish that point, and there we go. I'm just going to take a bit from a bit of the plastic on the age just a full on the sides of the canvas, where it hasn't quite Mr Flynn. - You'll see as it drives. The colors developed quite differently, and they move so that the petting we started off with has already changed quite a bit from what we've got now. And here's the finished project. I hope you've enjoyed my course, and I hope that you will look out from my next course coming out next month, which is the critics pouring techniques, which will look at more different types of techniques for using with liquid acrylics. Until then, I look forward to seeing some of your projects.