Acrylics Pouring Techniques 2 | Skye Bothma | Skillshare
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15 Lessons (40m)
    • 1. Introduction

      1:15
    • 2. Before you start - important note

      0:41
    • 3. Reverse bubble wrap

      3:18
    • 4. Blown flower

      2:27
    • 5. String pull 1

      2:16
    • 6. String pull 2

      2:28
    • 7. Turn table

      2:29
    • 8. Paper towel swipe

      2:38
    • 9. Choosing a colander

      1:27
    • 10. Colander pour 1

      2:59
    • 11. Colander pour 2

      2:08
    • 12. Dipped canvas

      0:33
    • 13. Marbled explosion

      4:13
    • 14. Crackle effect

      4:07
    • 15. Varnishing

      6:45

About This Class

This course follows on from my foundation courses Acrylics Pouring Essentials and Acrylics Pouring Techniques 1.

In this course we will revisit some of the techniques I touched on in Acrylics Pouring Techniques 1 and I will show you several new techniques including using a turn table, paper towel, a colander and crackle medium. 

If you have completed Acrylics Pouring Essentials you can go straight to Acrylics Pouring Techniques 2. 

If you are new to working with liquid acrylics I recommend that you do my Acrylics Pouring Essentials course first to learn the basics of mixing the paint and preparing work surfaces.

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Transcripts

1. Introduction: in this course will revisit some of the techniques that we looked at in my first credit pouring techniques course. And then we'll try out a few new techniques, such as using a drinking straw to blow patterns into the paint, using a string dipped in paint to drag across the paint. Draw patterns. We'll make a big miss when we use a cake decorating turntable, and then I'll show you a technique using whit paper towel. I'll tell you what you need to know about choosing a colander, and then we'll do two. Pours using two different types of colanders to show you the different types of patterns that can be produced. I'll show you a quick miss it to use up some of that spilled paint in our lost tutorial. I'll show you how to use crackle medium, and finally, I'll teach you about different types of varnishes and how to apply this 2. Before you start - important note: before you start, make sure that your work surfaces absolutely level. If your work surfaces at all uneven, the paint will run towards the lower end of the table while drying and your design will be lost. Here is a painting that I completed in the first course, and you can see what it looked like while it was still wit after drying. Though, however, the PETN was completely different on this is because the table that I had worked on was not even on the painted spread towards the bottom of the table on my paintings design was lost . 3. Reverse bubble wrap: For this technique, you'll need your canvas premixed paints, paintbrush and bubble wrap. I'm going to start by covering my canvas with my background color. First, I'll just pour out an amount off paint and smooth it out with my paint. Brush doesn't need to be completely perfect. I just want to get the pain down. Okay? My canvas is finished and covered with paint, and I'm now going to put this aside for the time being. And now I'm gonna take my bubble wrap and onto the bubble red just going to pour into the troughs, - right ? I'm going to put that aside now and bring my canvas back. And now I'm going to take the bubble wrap and turn over, placing it face down onto the canvas. I flipped the paint, dripped through now, and I'm strictly lifting up the bubble wrap. As you can see, there's still some areas that haven't got paint on, so I'm going to reuse the bubble wrap and just place down on the areas that are open. Okay, no corner on on. Pretty happy with that Paintings finished 4. Blown flower: but this one I'm gonna use a canvas drinking, straw, roars, paintbrush my colors with no oil added, I'm going to start by making a solid background. It's a okay. And now I'm going to alternate my colors, then taking my drinking straw. I'm gonna blow sharply across the surface. And there we go. It's finished. I'm not to slip that dry now. 5. String pull 1: for this project you require you canvas, you premixed paints, paintbrush and some string. I'm not going to cut three pieces of string long enough to cross the canvas. Next, I'm going to lay down my background color off paint, using the paint brush to smooth the paint across canvas. Now, taking my first length of string, I'm going to dip it into my first color using a stick or paintbrush. I'm going to push the string into the paint, making sure it's covered solidly. Once that's complete, I'm going to take the same string and dip the other end into another color. This time I'm using white and again I'm pushing it into the paint was my paintbrush. Once it's fully covered, I'm going to carefully lay the string down onto the canvas. I'll now repeat the process with my other two colors. I've now completed the three strings and laid them out onto my canvas, and now I'm going to take the end off one of the middle string and draw it towards me across the surface off the canvas, and I'll repeat the process with the red and yellow strings as well. In this case, less is more so. I'm going to leave it here 6. String pull 2: in this demonstration, I'll show you a different way of using the string pull technique in which I use the string to drag the paint across the surface of the canvas. First off, I start by applying my background paint, using two different colors pink and blue. And now I'll start using my string to drag the different colors off purple and yellow across the canvas. No. 7. Turn table: for this technique. I've got my prepared canvas, my cake decorating turntable, a piece of paper which I'm using to cover my table to protect surface. And we're premixed paints. I stopped by pouring my first main color onto the canvas and turning the table to spread the paint across the canvas, just adding more paint, spreading it out. And now I add my first color and spend the table to spread it out. I continue to add colors and spend the table alternating between adding color and spinning the table. I haven't got any particular design in mind. I'm just add in colors, randomly spinning the table and seeing what pattern emerges. I'll just keep continuing to do this until I'm happy with design that I produce no way like the design that this effect has created. So I think I'm going to leave it here. As you can see, this technique creates quite a mess, so be sure to cover your table. I've moved my canvas to a drying right now to complete the drying process 8. Paper towel swipe: for this technique, you need your prepared canvas and paper tell you premixed paints with silicon oil added on a spray bottle containing water. I'm going to start by taking a sheet off the papers, tell and taking my spray bottle and psyching just waiting it to the point that it's damp but not too weak. I'm just going to lay it in the mosque it until I'm needed, right? I'm gonna put that aside. I'm not going to start by pouring my paints onto my canvas in alternating stripes. I'm keeping one color aside, which I'll be using as my swipe color. I'll also be leaving a small space at the top of the canvas where I'll be placing that color later. I'm not going to pull my swipe color into the space that I've lived and now taking my moist paper tell, I'm going to dip it into the top off the paint at the top of the canvas and slowly and gently drag it down through the layers of paint. There's nothing left for me to do. Now the technique is complete. All I'm going to do now is just let this sit for a while so that the design convivial elop 9. Choosing a colander: When choosing a colander for working with liquid acrylics, look at the base of the colander rather than the pattern of holes. You want to select colander with the base that has legs, which raises the colander above the surface off the canvas, so these two are suitable. Where is this? One over here has an enclosed base and means that the paint is not going to smooth evenly outside of the colander you can see when placed on the canvas. It encloses quite a large area, and only a small area is open for the paint to move through. This means that paint is just going to release it on the canvas and mix rather than create any particular pattern. This colander is far better as it has legs that allow it to stand above the canvas so that the paint contribute down and move freely, as is the same with this one, which also only places contact in four corners off the canvas and will allow the paint to move around the canvas smoothly. 10. Colander pour 1: for this technique, you'll need your prepared canvas you premixed paints on colander. I'm starting by placing the colander squarely in the middle of my canvas, and now I start pouring my paints in no particular order into the center of the colander, allowing them time to move through the holes before applying the next layer of paint. The video has been sped up to save viewing time, so it's important to remember that this technique is going a lot slower than it seems. The important thing is to agile paint slowly, one at a time, allowing them to move through the slots onto the canvas. If you add them too quickly, the paint is more likely to mix before it reaches the canvas and your pattern will be lost . I'm happy with how my design is starting to develop now, so I'm very carefully going to move column just going to spread some of the paint over the corners. I'm happy with my design as it is now. I'm going to run Alex Dry once finished tightly 11. Colander pour 2: in this demonstration will show you the effects of using a colander with a difference. Patton off holes The video has been sped up to save viewing time, so it's important to remember that this technique is going a lot slower than it seems. The important thing is to edge of paint slowly, one at a time, allowing them to move through the slots onto the canvas. If you add them too quickly, the paint is more likely to mix before it reaches the canvas and your pattern will be lost - okay , ? 12. Dipped canvas: Here's a technique to use up the leftover paint from a previous project. Firstly, I'm going to move paint into one area, and now I'm taking a blank canvas and pressing it down into the paint pool, lifting it up gently. There's my Finnish design. 13. Marbled explosion: I'm going to start by pouring my main color onto my canvas, starting with a large circle in the middle and spreading it out as far as I can get it to go. At this point, I'm not looking at completely covering the canvas, just getting a large starting point. I'm not going to add my other colors in layers on top of my main color, starting from the center and pouring outwards. Once I've now got a good pool of different layers of paint on my canvas. I'm going to take my skewer or toothpick and draw the paint from the inside of the circle to the outside and continue this intel have gone right round the canvas, just spray paint out a little bit more weight. I'm not going to add a second layer of paint again, pouring into the center of the canvas in different layers, taking my scare. This time, I'm using the thicker end of spirit and pulling out from the center to the outside game. I'm now adding 1/3 layer of paint again in concentric circles from the center, and this will push the paint further towards the edges off the canvas before using risk your and pulling the paint from the center towards the edge of the canvas. My painting is developing nicely now, but I'm going to add one more final layer of paint. - I'm pretty happy with the design of my painting now. Andi, I've managed to get all the paint to reach the edges of the canvas, so I'm just going to add a few finishing touches and I'm going to use the paint that's dripped onto the paper just to cover the sides of the canvas. And there we go, a marbled explosion. 14. Crackle effect: for this technique, you're going to need your canvas. Your premixed paints a liquid acrylic metallic paint, some crackled medium and a paintbrush. I'm going to start by covering my canvas with a layer off the metallic paint. My first layer is complete, and I'm now going to leave it to drive on the implant. Apply another coat. My canvas has bean coated with two layers off metallic copper paint is dry, and I'm now going to apply the crackle medium. Now with the crackle medium, you want to apply it in even strokes on your canvas. What surface evenly and in one motion. And you don't want to go over parts that you've already painted. And then we go. I'll let that drawing now that is now dry and to a for duty couple. No, spread out the paint or them. I can. It's on. I'm going to leave it to dry. This technique takes a long time for the final picture to truly develop. You'll see that the picture changes quite a bit over time, and true cracking affect was only really visible about a day later. 15. Varnishing: to bring out the vibrancy of your paintings. You'll want to add varnish at the end. There's also helps to protect the painting and prevent it from fading over time. Varnishes come in a range of brands and shiny business, and it's up to you whether you want to use high gloss met or just a general gloss finish with varnishing. You always want to apply at least 2 to 3 coats of varnish. The problem is, if you want to use a Matt varnish, make sure that you apply a gloss varnish first in your 1st 2 to 3 under coats and and then finish with the Met varnish at the end. The reason is that the Mac varnish tends tohave. A Pake finished to it. It's not as transparent as the gloss ones. So to create the matte finish, it actually ends up dulling your painting a little bit. I've got two canvases here that I am going to varnish with the different types of bonds that I have so that you can see the difference in the shiny nous. So on this one, I'm going to leave this side with no gloss. It'll and on that side I'm going to use Thies this liquor text, professional, high gloss varnish. So I'm just gonna put some of the varnish into portal. It's already quite liquidy. Some boat need to add any water to that. So I'm going to apply it to half of the painting, using even strokes. You don't want to brushed back and forth too much with using varnish because you don't want to see brush strokes, So apply it and then just smooth it out. All right, well, that's my first Kurt elite that dry. I'm not going to varnish this panel again. I'm going to do 1/2 with gloss and then the other half with Met. But as I said earlier, you need to apply gloss layer first before applying met. So this is my gloss varnish. Andi. I'm going to pour in a little bit of fun ish. This is quite a thick mon ish. So I water it down with a little bit off water, okay? And that's now mixed. And I'm just going to apply the varnish like before and even strokes across the canvas very lightly. Gently looks right. I'll let those dry and then apply. See concurred later My first coat of varnish has dried. And now I'm going to apply the second coat as before and putting the height loss varnish on this one now to avoid brushstrokes. I'm not going to move my brush this way. I'm actually going to move it this way, even die. I don't want us. Well, layering the drug brushstrokes like this well, help avoid being visible in the final product. This canvas is the one with the ordinary gloss on. I'm going to do one side with gloss and one side with Met. So again, this time I'm doing my second layer with the same gloss. And now on this side, I'm going to put the Mac varnish. As you can see, this is a lot more opaque than the other two. And which is why it needs to be the final coat. If you put three coats of met on, you're going to completely cover your image and you won't see it anymore. You were going Let those dry. My final layer of varnish has now dried and you can now see the difference off. The different types of Vonage is on this one. We have the unpainted side on the side, and this side is the high gloss. As you see, there is quite a difference between the UN paint, the unvarnished surface and the varnished surface. And this one. We have the normal gloss on this side, which is two coats of gloss and one coat glass. One coat met on the side, and again you can see there's quite a difference.