Paint Pouring : Getting More Cells in your Fluid Acrylic Pour! | Brenda Dunn | Skillshare

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Paint Pouring : Getting More Cells in your Fluid Acrylic Pour!

teacher avatar Brenda Dunn, I make things. I also make things happen

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (31m)
    • 1. Welcome to Paint Pouring 2 : Getting More Cells!

      0:37
    • 2. Materials

      1:35
    • 3. What are Cells?

      1:47
    • 4. Setting up for Success

      5:08
    • 5. Paint Handling

      5:11
    • 6. Transferring to your Pour Cup

      4:55
    • 7. How to Use Silicone

      3:39
    • 8. Flip your Cup

      4:32
    • 9. Time to Tilt

      2:11
    • 10. Class Project

      1:13
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About This Class

This is part two of my three part series on Pouring Pitfalls. We'll tackling specific issues my students shared about their fluid acrylic pours and how to handle them. You can check out Part One : Preventing Muddy Pours here! 

This section is all about getting more cells in your pour. We'll talk about specific ways to handle your paint, incorporate your mediums, and use cell-boosters like silicone to get more cells in your pours. We'll also talk about techniques for handling your canvas to keep from bursting all those beautiful bubbles. This class assumes that you've had a bit of experience with fluid acylic but we're also going to go through the process of a pour step by step, with emphasis on tricks to increase the chances of cells at each step. 

If you've never tried fluid acrylic and you're looking for more of a pouring 101, check out an intro pouring workshop here.

You can also check out albums from my Fluid Acrylic workshops here and see hundreds of example pours. Check out work from other students to help you pick a palette!

Grab your canvas and some paints and be sure to follow my profile to check out Section 1 and 3 of this series! 

Other stuff: this class was created with the help of Board Productions who know how to kick it up a notch.The awesome artwork behind me is a mix of my own (colourful squares and purple mountain) local Ottawa artist Andrea Stokes (axe swinging girl) Unicorn creatures by my buddy Westin Church

Meet Your Teacher

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Brenda Dunn

I make things. I also make things happen

Teacher

Heya! My name is Brenda Dunn and online I go by Art in Jest. I'm a full time artist and arts based facilitator in Ottawa, Canada.


I help people of all ages and skill levels exercise their creativity in every setting from classrooms to boardrooms.

I help others to be brave about making things and making things happen.
Now let’s make something awesome.

See full profile

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Transcripts

1. Welcome to Paint Pouring 2 : Getting More Cells! : Hello friends, welcome back to my Skillshare channel. If we've not met before, my name is Brenda Dunn I go online by Art in Jest and you are at part 2 of my three-part series on pouring pitfalls. In this section, we're going to talk about paint handling and techniques we can use to help you get a few more cells in your poor. If you haven't seen it already, you can check out part one of this three-part series, which is already on my channel, all about color theory and how you can pick colors specifically to get lots of beautiful contrast in your pores. For now, if you want to check out how to get a few more cells, stick around. 2. Materials: I have in front of me the demo piece that I did for part 1 of this series, all about color theory. For this particular class, we're going to use all the same materials that we did in part 1 with a couple of little add-ons. So if you weren't here for part 1, what you're going to want is a surface to pour on. I'm using an eight by 10 canvas. It can be bigger or smaller, no big deal. I also have the same three colors that we used in the previous poor. And if you're struggling with color choices, again, go ahead and check out part one for some tips about that. But if you want to follow the steps in this class exactly, I recommend just picking your three favorite colors to try out for this session. I'm also going to use a little bit of pouring medium to help give my paint lots and lots of movement and make it go across the canvas a little bit more smoothly. And the super secret special weapon that we're going to use today is a little bit of silicone. Silicone is one of those things that you see pop up in a lot of pouring. And we're going to talk a little bit today about what it does and does not do for your poor. In addition to that, I have a few ten fluid ounce cups that we're going to use to mix our paint. A couple of stir sticks so that I can do my mixing. And we've got a few preventative measures to help contain our myths. I've got a little drop sheet down here on my workstation. I also have one of these tin foil lasagna trays that you can get it pretty much any dollar store and a few little mini cups so that I can sit my Canvas app and elevated height and let all of that runoff just nicely fall into my little tray here. Grab all of these things and you will be ready to pour with me. 3. What are Cells? : So before we dive in, let's look at a couple examples of ways pores can go really well and ways that they can maybe go a little bit of skew. One of the best things about fluid acrylic is that we don't have total control over what happens to the paint. So first and foremost, I'm just going to recommend lots and lots of trial and error, lots of experimentation. Give yourself tons of time to make mistakes. And then when you get that beautiful, poor, it's going to be this perfect balance between things you did on purpose and things that kinda just happened by luck, which is one of the things I love about this painting process. So with our example poor that we did in the color theory section, you'll notice that I do have some really cool variation between the colors. There's lots of really neat striations in this paint, but there aren't a ton of cells. And if cells isn't a familiar term for you, it really just means bubbles of paint within paint, mixed media artists love their cells and fluid acrylic, and I'm going to put up a few examples of pores that have a ton of different cells, lots of color variation, and lots of high contrast. These are really beautiful, interesting pores. They don't have to be your goal. But this is the type of technique we're going to be focusing on today. I'm also going to put up a few examples of pores that maybe how does little bit less contrast things where colors maybe got a little bit muddy. There wasn't quite as much distinction between one color and you're poor and another. There is nothing wrong with this. And it is a great way to try out different color palettes, but it is a little bit harder to see some of the exciting things that are going on in this form. With all of that set, we're going to talk about a couple of ways you can handle your paint and a couple of super secret special things you can add to your pores to increase the chances that you see cells. 4. Setting up for Success: So first we're going to talk about ways to set yourself up for success. We're gonna go through the supplies that I'm going to be using today and how they're all going to contribute to you getting a more interesting poor. So you'll notice that I actually have a bunch of super big bottles of paint. This doesn't have to be the size that you use. But one of the other things that these all have in common is that they're the same brand. This is not crucial, but every time a company makes paint of any kind, they make their own choices about specific ratios and pigments that they put in the paint. One of the things that can be super helpful, especially when you're starting out choosing paints that are all the same brand. It's not essential. But if you really want to make sure that your paints are designed to play well together. Start with just a few of your favorite colors in a brand that you trust. I also recommend to use fluid acrylic, something that is already a little bit thinned out and meant to move. If you choose things like a heavy body acrylic, it'll start off kind of the consistency of toothpaste. You're going to have to add a ton of medium to that paint in order to get it to flow the way this stuff we'll do right off the bat, not the end of the world. It just means that you're going to waste a lot of flow trawl are pouring medium to get basically the same effect. Something that's going to cost you a lot less. So choosing a paint that is the same brand and sticking with something that's already meant to be kind of a high flow. Avoid words like heavy body when you're starting out. For surfaces, I'm working on a super inexpensive Canvas. This is nothing precious. I got it in multipaths. These are often available at discount and dollar stores. Art supply stores will also offer things like a student grade or a low cost option, and that is a perfect choice, especially early on in your experimentation. You can also use things like canvas panel, which is the same type of surface, but just with a little bit of board underneath so it doesn't have this lip. And if you get really into this, you can start upgrading to beautifully glossy slip surfaces. Things like acetate or a clear acrylic can make beautiful effects for your poor. Once you've really got your chops, you can actually use fluid acrylic to cover just about anything. So pick a piece of furniture and do whatever you like to it of fluid acrylic poor will totally cover that ugly side table that you're sick out. The other thing to remember about this particular type of process is that it's really easy to cover painting. So if you have anything kicking around that maybe you're not in love with or you get a pore that just didn't turn out the way that you were hoping. Don't know the canvas away, hold onto it and use it for your next experiment. All of that will work super well. For this particular exercise, we're going to be doing a dirty poor, which means just a cup on top of the canvas. But there are also options where you work wet into wet and cover the whole surface of your canvas with some white or a base color. Go ahead and experiment with that if you want. It's a super easy way to make sure that the paint will flow really nicely. And it can ensure that your entire canvas is covered if you want some more isolated patches of color in your poor. I've chosen pouring medium that is the same brand as my paints. I also tend to go for the biggest bottle that I can get because you do go through quite a bit of boring medium. You can also purchase things like flow trawl. It does basically the same thing. All this is going to do is give your paint a little bit more of a thin texture, slightly higher level of viscosity with a breaking apart the stuff that's holding your paint together. In section 3, we're going to talk about some dips and things you can use instead of that. But for now, any old corn medium will do. And if you already have really high flow paints, you might not even need this. The last thing that we're going to add to our poor today to increase the chances of getting cells is a little bit of silicone. We're going to talk more about how silicone works and how we can use it in our port to increase our chances of success. And again, in section 3, we're going to talk about some household items that you might want to use in place of silicone. This stuff is not particularly expensive, but it's also not crucial to your poor. And you don't have to start off with this. It's just an option if you want to give yourself a slightly higher chance of cells. Now I actually have an entire pouring pitfalls class about the rabbit hole that is color choices. If you want to dig a little bit deeper into why we're using the colors that we are and ways that you can make really helpful color choices for your poor. Go ahead and check out that first-class in this three-part series, I'll also link it in the class description below. The other thing that I'm going to do for this particular section is used the exact same colors that we used in the first example. We're going to do this throughout all three sections so that you can really see the impact of the changes that we're making. And I recommend this anytime you're introducing a new technique in your poor so that you're only changing one thing. This is really going to help you track the effects of your choices rather than getting distracted by changes in color. 5. Paint Handling: So now that we've got our supplies, let's talk about paint handling and how to get the right viscosity for your poor. Before I started this series, I actually asked a bunch of you guys and people who have taken my in-person workshops, what they struggled with. And I've got a really good question from Shannon about how to get the right viscosity where the right texture to your paint. So we're gonna talk a little bit about that now. While we're doing that, I'm going to get out my 310 fluid ounce cups and my color choices. I'm going to start with a little bit of my white, which is pretty much always in all of my pores. If you want to dig a little bit deeper and design again, check out the color theory choices class that I'll link in the description. But for now we've got some whites and magenta and some teal. Now here's the thing. When you're doing your cores at home, you might have different brands of paint. You might have smaller cuts, a bigger Canvas, the colder room, and all of those things are going to affect how your paint and your medium interact. Also, even within the same brand of paint, there's gonna be some differences in thickness in these paints. So the stuff that's in magenta to make it magenta is different than the stuff that's in white. To make it white, the goal that we have here is to try to get our colors as close to the same viscosity, the same thickness or thinness as we can. So if you're using roughly the same sizes of cups and Canvases mean you can give yourself maybe a two finger width, depth of paint in your cup. Don't get too attached to that amount though because it's not crucial that you have exactly the same amount. What matters is that when you mix your paint and your medium, that you end up with something that is roughly between the consistencies, dish soap and honey. So we're going to break down a little bit more what that means. I've got a two-finger deaths of paint and maybe a one finger depth healthy couple of tablespoons is medium in my ten fluid ounce cup. But the part that matters if you've got a bigger cup that your paint, warmer rooms, smaller canvas is just that. After I stir this together, I end up with something that is in-between dish though and honey. So dish soap is about as thin as I would like my paint to be before I pour these together into one cup. Think liquids, dish soap just kinda drains off of your stick. And a little river. If it was a little thicker than that, think honey maybe makes a little ball at the end of your stick. Both of those are fine. What you're looking for is something between those two consistencies so that you know, your paint has been enough to move off your stick. If it doesn't do that and it's still really thicker, it's just holding onto the stir stick. You can't hurt it with your medium. So go ahead and throw a little bit more in. This only works if you're using actual pouring medium or flow trawl. If you're using an alternative like a water balloon mix, it can really break down your paint. You have to be a little bit more sparing. We'll come back to that when we talk specifically about supply groups and how to handle them. But for now, ideally, you're adding enough flow trawl are pouring medium again to get this paint somewhere between liquid dish soap or nice that kind. Anywhere in there is fine. If you're not sure. Thrown a little extra medium and again, go thinner as opposed to a thicker. The other thing that I'm doing when it comes to paint handling, and I'm going to repeat this step for all three colors. Is vigorous, enthusiastic stirring. So sticker this stuff longer than you want to stir it. Like you were churning butter or scrambling eggs for whipping cream. This is a pretty vigorous process and you should completely get rid of any trace of that medium in this color. I shouldn't be able to see any streaks of gluey bits. It should all look completely integrated. The other thing that I'm doing with this string is integrating air into my mixture. And I'm doing that because air is bubbles and bubbles can turn into cells. So all of this vigorous enthusiastic mixing is going to help us get a more interesting port. So go ahead and grab the cattle, stir the heck out of it, and repeat this step for all three of your colors, looking for something between dish soap and honeys. If ever you're not sure. All you gotta do to test this is pick up your sticks and make sure that your paint will move off the end of it. Alright? Repeat this step for all three of your colors and then you'll be ready. 6. Transferring to your Pour Cup: So when you've repeated this step for all three of your colors, you should have paint that runs off the end of your stick pretty easily. And it might vary a little bit from one color to another. But the goal is just that none of this paint stays completely on the stick. All of it will drop a little bit into the cough. Again if ever you're unsure, just remember anything between dish soap and honey. This can be applied to any type of paint and any type of pouring medium. Now that we've got our colors, I'm going to be using an 8 by 10 canvas. So I'm looking to make sure that I have one cup that's close to full of paints so that I have lots and lots of medium on the surface. If ever, you're struggling with breaking down how much material you need for a particular cup. Something to keep in mind is just however many eight by 10 canvases you could fit on your pouring surface. You're going to want about that many ten fluid ounces cups. And you can do multiple pores with cups of this size so that you can keep doing the dirty pour over and over to cover a larger surface. So we've got our three colors in our three cups. Everything has been vigorously, enthusiastically stirred for longer than we felt like string paint. Now for this particular section, I'm going to be doing what's called the dirty pour, which just means all three of these colors are going to go into one cup before we flip it upside down on the canvas. I do this because it's kind of the best way to just start off with fluid acrylic. But the method that we're going to talk about can be applied to any type of fluid acrylic pouring. So when I sent the call out to people who have taken my workshops before, I got a couple of really good questions about this process. Angie asked specifically how to put the colors into the cup in different orders or why we might see more of one color than another in the poor. I also got a really cool question from Colleen about how to prevent colors for mixing or blurring together. So if you're using things like black and white, how do you keep it from all just turning out gray? The interesting thing is that the answer to both these questions is kinda the same thing. So the order that we put the colors into the cup feels like it should have a big impact on how much of each color we see when we pour onto the canvas. In actual fact, the impact is probably a lot smaller than you might think. So unless you have four times as much white as you have magenta, it's not really going to matter what order you put the colors into the cup in. But if you want to test the theory and you should always test, grab yourself a couple of smaller cups. I like these little mini glasses that you can get from any dollar store. And what you wanna do is just do the exact same process. I'm about to show you with these ten fluid ounce cups. Do the same thing and little minis and put the colors in a different order so that you can see how they turn out when you flip them upside down. Great way to test and see if you've got a dramatic difference in color order. But really and truly this is one of those things that's kind of random about fluid acrylic. So even though you might want to see more magenta or you might really want to see more teal come up in your port. If you can think about that before you start and just let it go and see what happens. It'll be a lot more fun. And also then you will know that you're probably going to be surprised no matter what. And that's kinda the cool thing about fluid acrylic, right? So to Collin's question, the way that we keep the colors from all mixing together. And also to Andrew's question, the way that we keep lots of contrast between the different colors has a little bit how we all got them in the same cup. So what I'm gonna do is rather than dumping this upside-down into my cup, I'm actually just going to randomly pick the white to pour into. And I'm going to drizzle a thin line of the teal into my white cap. I'm going to do this because ideally, if I do a nice thin line of paint, I'm going to end up with some teal sitting right on top of the white. This sometimes doesn't work if the pigment in one is a lot heavier than the other, sometimes it can just sink to the bottom and that's okay. The idea is just to use a nice thin line of paint so that you get it sitting on the top and it doesn't all integrate together. This is one of the things that can help more contrast show up in your pores. It can keep your colors a little bit more separate. And it lets you make sure that you have the ratios that you're looking for when you peek through the side of your cup. So in this particular poem, looking for quite a bit of white and then a little bit of teal. And then I'm going to throw him some magenta for accents. Again, the amount of core color that I see come up in the poor is a little bit random. This doesn't guarantee me lots of white and less magenta. It's just something to try. And again, if you want to sort of give yourself a fun little experiment, try putting the colors in different orders and little mini cups just to see what happens. 7. How to Use Silicone: Now before I put in the third color, this is the point that you can include silicone. Silicone is basically of barrier that holds paint away from paint. What it's gonna do is help make a bit more of a separation between your colors, which is the thing that helps you see cells in your poor. I want to include this in my mixture, but I don't want to store it into the cup because I don't want to ruin this nice separation that I have between the teal and the white. So what I'm gonna do instead is added after color number 2. And I'm going to show you how to get it to mix into the rest of your pain. Now, a quick side note about silicone. This stuff is really potent and too much of it will actually make your poor look really greasy and you're going to have a really hard time getting it to dry. So I would recommend using just a couple of drops in your mixture. You do not need much of this. I have maybe half a teaspoon in here. Go sparing at first and test it out. You do not need a ton of this stuff. A bottle like this will last me hundreds and hundreds of cores. If you're going through it quicker than that, you've probably got too much in your mix. So now I've got this lovely little blob of silicone sitting on top of my teal. And I want to integrate it into this entire cup, but I don't want to stir what's in here. I also don't want to add it to each color beforehand because it can put too much of it into the mix. And if it's too integrated, it's not going to do its job. So instead, I'm going to take my third color and do that drizzle trick. And that little third line of paint is actually going to punch through the silicone and just send it into the rest of the paint. Because we're flipping this full cup upside down, it's probably going to end up pretty integrated anyway. But if you think of it, it can be a really good technique to throw your silicone in there after color number 2, and then drizzle color number 3 right on top. After you're done, you should have a pretty clear distinction in your cough between all three colors. If one of them sinks to the bottom, that's okay. But if you give yourself a little bit of height and do that nice thin line of paint, you should be able to see the distinction through the side of your cup between color number one, color number 2, and color number 3. And the silicone should be pretty much invisible. So before we flip this cap, we're just going to talk a little bit about the pros and cons of using silicone. If you're just starting out, again, this is not an essential tool. It can help with the appearance of cells, but it's not magic and there are lots of other things that can make cells appear or not appear in your pores. You're going to invest in the silicone. I do recommend trying a couple pores with and without just to see the difference. Especially if you feel like your pores might not be drying completely or the surfaces are ending up a little bit greasy. It can be really tempting to put in too much of this stuff, because sometimes it really is presented as this sort of magic silver bullet that's going to increase your cells by a 1000%. And it really doesn't do that. It only works if there's small amounts so that in your mixture and it's acting like a barrier. So it's not too to integrate it into all your colors. So trialed little bit of it in one of your pores. But just as a comparison, the example poor that we did in section number one doesn't have any silicone in it at all. And we still got tons of interesting things happening in this course. So don't worry if you don't have it. In section number 3, we're going to talk about stuff you might have in your house that you can use instead of it. And if you want to invest in it, keep in mind this bottle shouldn't last hundreds and hundreds of pores. You do not need a lot of this stuff. 8. Flip your Cup: We're about to do the really fun part. The fun part is where you get to actually finally put this paint on your Canvas. Before we do this, I'm just going to point out an amazing opportunity that fluid acrylic is giving us. So for me, this is the point in any poor where I start to feel a bit of attachment to a particular outcome. I really like the colors I've chosen. I also really love that random exciting effect of fluid acrylics. So sometimes, once I've got all three colors in a cup, I start to feel myself getting attached to a particular look. I start to think about the fact that I want more teal, then I want magenta or I really want an interesting poor, or I really want a lot of cells to come up. And all of that is awesome. If you're like me and you start to get a little bit attached to a particular outcome. Give yourself a second, acknowledged that feeling. And if you can someday better than others, let it go. Because the cool thing about fluid acrylic is that we really don't have a ton of control over how it turns out. With tons and tons of practice, there are things you can do to have some effect on your poor. But for the most part, we kinda want to let the paint do its thing. So in order to really enjoy that process, if you're like me and you start to get a little bit attached to a particular look. Give yourself a second, acknowledge maybe that you're having that feeling and then try to let it go. So similar to section number 1, we're going to keep this really simple and do a dirty poor, which means I've got all three colors in this one cup. I'm going to take my canvas and I'm going to flip it upside down on top of the cuff and place my hand on the backside making a firm seal between the cup and my hand. This is especially important if your cup is super, super full. And it also means that we're going to make sure that all of the paint just stays roughly in place. But remember it's all headed for the Canvas anyway. I'm going to flip the entire thing upside down and set it on top of my little work surface. And I'm going to tap gently on the bud of the cup just to slowly move all of that paint from the bottom of this cup onto the canvas. I want to do this pretty gently because I don't want to decorate the inside of the cup. I want a cool-looking Canvas. But I'm going to be very light handed with this because I don't want to pop all of those little bubbles that I went to all that trouble to me. Now when I asked the question about how to get interesting pores, Cynthia asked me about over tilting and tipping and tender was asking about how best to hold the canvas to keep from distorting it with your fingers. So once we pick this up, we're going to look at a couple of techniques to do that. But just as a general rule of thumb, the less you due to a poor, the more contrast you're going to see. Every time we tip until the canvas, we're rolling paint on top of itself, so we're encouraging it to mix. And I don't actually want all my paint to mix together, I want some distinction. So African tapped on the butt of this crop for longer than I would like to test on the weather, the cow. You can go ahead and just grab a hold of it firmly, pick it straight up. And then the first thing you're gonna do to help your poorer look cool. His weight. Hold your cup over that beautiful little galaxy of paint. Just give it a second. Because all of these lovely little drips that come out from the cup onto the canvas are going to look super, super cool. They're also going to help with the instance of cells. They're going to show lots of high-contrast because they're coming from different parts of your cup. Now this is the second portion of a poor where I usually get really attached. Particular outcome because you're painting is beautiful at this stage, they're always gorgeous when they come out of the cup. So if you love the way it looks right now, go ahead and take a million photos. It helps when you're tipping and tilting and changing the Canvas. If you've documented this really cool part of your poor. But keep in mind right now, you're painting is a baby. Babies are perfect and beautiful and adorable no matter what. And we want to take a million photos of them and document every second. So go ahead and do that with your baby. Know that it's going to change as UTEP and tilt it. And you're going to love your baby no matter what, even if it goes through kind of an awkward teenager phase, that's okay. We're going to embrace no big deal. 9. Time to Tilt: So once my cup has kinda stopped dripping, and I flip it over and set it aside. Now to Sandra's question, when I pick up this canvas, I'm going to hold it mostly on the wooden frame, so I haven't put my hands completely under. I'm not actually pushing up the surface of the canvas if I can help it, I'm going to stick to the wood. If that's something that you struggle with, try this on a canvas panel where there's no central surface, it's just one smooth board. To Cynthia's question. I'm going to try as much as possible to only stretch my Canvas as much as I need to, to cover the entire surface. I'm going to make my goal to get the paint into all of the corners. And once I've done that, I'm going to try to stop. The hardest part about fluid acrylic is it's really fun and we want to keep playing with it. So if you notice that it's really hard for you to put your pours down more than one at a time. Have a couple of campuses on the go at once. It makes it easier for you to set it down early, which is the best way to make sure you're poor. Looks cool. I'm gonna go ahead and set this down with most of my canvas covered in paint. And right away you can see that there are a ton of cells that showed up in these pores, all that, these beautiful little dots and striations. All of this amazing contrast is something that we were lucky enough to get today. On a different day. Maybe none of this would've happened, but it makes it that much cooler when it actually does. Now if you have any little naked corners, you can use your fingers or any of your little stir sticks and just pull your paint to cover any little naked spots. Some mixed media artists actually like to leave a little bit of the canvas showing some people like to see the path that the paint took. That's artist's choice. Do whatever you like, but at some point, try to run the stick along the other side of your Canvas, just around the bottom to make sure that you don't have any little drips are bristles that end up kind of hardening or concealing on the bottom of the canvas just because it can be kind of pain and about when you go to hanging on the wall. 10. Class Project: So for your class project, you can actually take the project from Section 1 and Section 2 and just compare them. So this poor has silicone, a little bit more pouring medium and much more vigorous stirring. This one is using the exact same paint with no silicone. The colors were actually put in the cup in almost the same order. So what I'd encourage you to do is try a poor where if you have silicone, you integrate it. But at the very least, make sure that you really vigorously stir your paints so that you'd get something between that viscosity of dish soap and honey when you're putting your three colors into your cup, I want you to try to give it lots of height and see if you can get that distinction between colors inside your cup. Try it out and put it alongside your previous course. See if you got a higher incidence of cells or contrast. Just using that paint handling. Make sure to post your project in the project section so that I can take a look. I cannot wait to see what you make. Thanks so much for joining me and don't forget to keep an eye out for section number 3 where we're going to talk about some of the supplies that we can dupe for household items and waited ways to get started on fluid acrylic that maybe won't break the bank.