Fluid Acrylic Pouring: How to do a Dirty Cup Pour and Create Cells | Kaitlin Goodey | Skillshare

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Fluid Acrylic Pouring: How to do a Dirty Cup Pour and Create Cells

teacher avatar Kaitlin Goodey, Creative art and business encourager

Watch this class and thousands more

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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

    • 1.

      Intro to Acrylic Pouring Dirty Cup Method


    • 2.

      Basic Supplies for Acrylic Pouring


    • 3.

      Extra Supplies to Create Cells


    • 4.

      Adding Silicone to Create Cells


    • 5.

      How To Fill The Cup For a Dirty Pour


    • 6.

      Demo Acrylic Pour Dirty Cup Method


    • 7.

      Troubleshooting Issues - Dirty Cup Pour


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About This Class

Learn the basics of the Dirty Cup Method for Fluid Acrylic Pouring to create your own beautiful abstract wall art. Artist and teacher, Kaitlin Goodey will cover everything a beginner needs to master the basics of Dirty Cup Fluid Acrylic Paint Pouring.

In this intermediate class, Kaitlin explains step by step the materials needed, mixing additives in the paint, how to fill a dirty cup, how to pour the dirty cup and common mistakes to avoid or how to fix them.

*If you need to learn how to mix the paint please go back to her Beginner Course – Fluid Acrylic Painting: Abstract Puddle Pour Method for Beginners*

Kaitlin is breaking down the Fluid Acrylic Dirty Cup process and explaining everything she has learned by trial and error over the last year in hopes of making this art form easier and fairly stress free for you. Once you've got the basics down you can really start pushing the boundaries and experimenting with unique outcomes!

By the end of this class you should feel confident in your ability to create Dirty Cup Acrylic Pouring Paintings and if you have followed along you should have some physical proof!


What You'll Learn

  •  Basic Supplies List. In this lesson Kaitlin Goodey goes over all of the materials needed to step up and paint your project. Including explanations of why each material is necessary or alternatives to it. *You can find an attached document of the list of items and where to find them in the class project tab.
  • Supplies for Cells. Kaitlin covers specific supplies to get the popular cells in your painting. *You can find an attached document of the list of items and where to find them in the class project tab.
  • Mixing in Additives for Cells. This video will cover how to properly mix in the extra additives needed for creating cells and avoid common issues.
  • Filling the Dirty Cup. In this lesson Kaitlin shows how to layer the paint into the cup for a successful Dirty Cup outcome.
  • Pouring Demo. Kaitlin will demonstrate how to pour the Dirty Cup painting while also explaining how open up the cells and ways to vary the results.
  • Troubleshooting Common Issues. Listen as Kaitlin covers all of the common questions and issues that artists run into while attempting to create Dirty Cup Fluid Acrylic Paintings. (if you need more basic Fluid Acrylic Pouring questions answered go back to the troubleshooting section of her course Fluid Acrylic Painting: Abstract Puddle Pour Method for Beginners )

 Be sure to click Follow to see upcoming classes by Kaitlin Goodey including more advanced methods of Fluid Acrylic painting on Skillshare!

Meet Your Teacher

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Kaitlin Goodey

Creative art and business encourager


I am an artist, blogger and creative encourager. I love to teach art and business skills to creatively passionate and driven people.  I help creatives like you learn to express their unique art visions and build profitable businesses. I'm a creative coach who loves teaching, talking shop, creating, building community, and social media.

Connect with me - Instagram - Pinterest - Website


My background -

I've been a life long creator and entrepreneur. I started selling my art and jewelry in my freshman year of college at local summer markets and street fairs and haven't stopped since then. While I've always loved the thrill of making money from my passion of creating I've also had a deep calling and natural intuition to share ... See full profile

Level: Intermediate

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1. Intro to Acrylic Pouring Dirty Cup Method: Hi, My name's Caitlin Getty of Goody Studio. I'm here to show you how to do acrylic pouring, utilizing the dirty cut method to create a painting like this one. We'll also go over how to create cells in acrylic pouring. I've been doing this method for just over a year, and I really like how meditative on and experimental it is. You can really let loose and have fun with this and this class, all first over the supplies needed to create your project on the additives to do the cells . Then I'll dio a demo on pouring the dirty cut method, followed by some troubleshooting tips and tricks to make sure you create the best paintings possible. I hope you have a 10 if I'm in this class as much as Ideo. 2. Basic Supplies for Acrylic Pouring: Let's talk supplies. First off can this. I like to get my canvases that Michael's make sure there's a sale or you're using a coupon you can get sometimes up to 70% off your campuses, and that's usually my sweet spot to stock up. That doesn't happen every month, but when it does, I make sure I hit that sale up. Today, we're gonna be using 11 by 14 canvas. This is a good size to kind of get testing with and be able to show you enough the process . I've done a small as four by four campuses. That's pretty dying. Smaller. You're working with drops on that one. I suggest at least eight by 10 for you to get started. Um, make sure they're nice and tight canvases. If they're not, you need to spray the back and dry it so they're really tight. That's the key to this. I wouldn't use canvas board because those bow a lot during the drying process and you're gonna lose all your painting, so I like the level two. You could use a level one if you want to save a little bit more. If you're thinking about selling these I used at least the level two, though, because I think that the back looks a little more professional and nice there stapled a lot better and smoother for hanging. So this is my favorite for being on the cheap side, but still looking really nice. If you want to be super professional, go for the level three the nice. It sounds thicker on the sides, and I really like how the paint travels over that. But the level two is great for getting started or a level one. Uh, so after you have your nice level, can this make sure you have a level space? You need to have something that props up your cannabis from the table. You can use cups if need be, or little painting triangles. You'll see in the video that I use painting triangles. Sometimes they could be a little tough, though, since they're very small tips that you're going to be balancing this on. I started out with cups, and that worked great as a process for learning, so you need it propped up for the actual painting process, and you, Nina, propped up during the drying process, make sure that wherever you're drying. Your painting is extremely level. You can use a level to do that or eyeball it if you have Teoh, Um, the painting surface needs to be at least decently level so that you're not losing too much of the paint while you're setting up your painting. Basically, uh, then make sure your space is protected. I am kind of a hot mass of getting paint everywhere. As you can see, I have plastic down on my table. I also have plastic down on my floor. I also have very dirty clothing that I wipe paint all over. Uh, I get paint everywhere and through my clothing on my skin. So I really just trying and protect things as much as possible, including nice close by not wearing them at all in that same vein. Gloves. Gloves are a big help. Um, because you're going to get paint all over your hands since you're going to be holding the painting here and tipping and tilting, it goes directly onto your hands. So, uh, yes, you could wash your hands off, but one of the big helps of a glove. So I'm in the middle of painting and I've got paint all over my hand, but, oh no, the phone rings or Oh, no, this thing's falling over over here. I can quickly slip my glove off, and I have a clean hand to do something with, especially if you want to take pictures along the process. You can slip the glove off and not get paint all over your son. So that's kind of an added tip that people don't think about, of how you can take it off and be instantly clean on your hand again. So make sure you about gloves. They really help to keep things cleaner and more controlled. Forgetting paint everywhere. Um, then you'll need stir sticks and cups for mixing the paint into. I just use little Popsicle sticks that I got at the dollar store cups. You can use a little bit smaller than this if you're doing just smaller paintings. Sometimes I do up to 24 by 36 paintings, so I really need these large cups or mixing a lot of pain at once. But you don't need quite that large. Uh, you can use your Popsicle sticks or, if you have any trowel type of things like this thes air kind of handy tools for finessing extra things covering the engines, your of your painting. But this isn't necessary. You can do all of that with a Popsicle stick or other things. They're handy. Another optional thing is a scale. I already had one of these. You can get them for decent prices that like that bathroom beyond or target or something. But if you really want toe, go the extra mile on making sure that your pain is the same consistency. That's when I use my scales that I know exactly how much paint and medium I'm adding to each cup and that it's equal across all the colors I use. It's not necessary, but this is an added option. You can just eyeball how much paint use, though, If you want Teoh, um, then you're in need water. Uh, I don't use purified water. It's just in the bottle. So you just need a sound, um, you know, bottles of water or if you have, like, a picture, whatever you want to put it in, Uh, I just use tap water. Some people do experiment with distilled water or purified water, but I haven't found a big difference between that, at least in how I work. So just get some tap water, put it in a handy, um, bottle or something so that you could be pouring it into your painting. Sometimes I have several of these around, um, so that you don't run out, but just have at least one near you. Uh, then we get Teoh the critical bit, and that's paints and mediums. So with paints, uh, you don't have to go spending all your money instantly on the acrylic paint. Uh, some people use as basic as craft paint from Michaels Joan's wherever you can use craft paint. If you would like, uh, I had more issues with this, though a lot of people have a lot of success with these. I have a little bit too much issues with cracking with these, though, So I moved on Teoh the Liquid Tex basics paint. There's also artist's loft paint or, like Blick, has a very similar brand to this, um, liquid taxes. My favorite, And then it had loose. When I started, it had the most colors available. It's got a really nice consistency to it. Um, you don't want to be getting heavy body acrylics because those take too much to makes down . This is kind of a medium, um, in between heavy body and fluid. So, um, this has a really let me putting kind of consistency to it, which makes it nice to mix down from eso. I suggest list. Cortex basics has a great starting point if you have just a little bit more to spend again , I watch Michael's for sales on these. Or sometimes Blick has some pretty good price is. But I stock up when their sales because pain can add up and how much it costs. And with that, you can use golden fluid acrylics as well. Um, these are beautiful paints, but they're quite expensive. Um, I already had these from other painting processes I've done, but I don't tend to use them this process because they disappear pretty fast. Since they're already superfluid. You can't really here, but since they're already superfluid, you don't need to put aside into medium and them. But that also means that you're going to use a lot more of the paint itself. And that's just a lot of money, especially when you're doing big canvases or if you're really prolific and painting, Um, I will say I really like the iridescent colors, metallic colors from golden so my golds and my silver's are usually a golden. Sometimes I'll use a liquid Texan it a little bit. So, like if the consistency in my other colors because I used liquid texts are thicker than what this golden would produce all use mainly this. And then I'll add a bit of the liquid tex gold pain in to just thicken it just slightly. But this is these air really my favorite. When it comes to the metallic colors, they're just they're just beautiful. So that's really only time I use Golden because they get really expensive when you're using them a lot. So then let's talk about mediums. Liquid text pouring medium. This is really went, um, helped pouring takeoff. Uh, it helps the integrity of the acrylic paint. Acrylic paint can only be mixed down so far with water without having issues, so this works as a binding for the acrylic paint. It extends the color. It's colorless itself, but it works is kind of a glue to keep the paint together. Eso that you don't have any flaking issues or anything like that. So your liquid text pouring medium is really important for getting the row fluid paint but not jeopardizing the integrity of the paint itself. So when I'm mixing, I do a 1 to 1 ratio of paint to pouring medium. But I split that between the actual pouring media and gak 800 reason I use gank 800 by Golden is to help get a really smooth finish. It's specifically main for Lok raising. So, um, that has to do with how the paint dries and potentially poles apart because of just all the layers in there. So for me, I found a lot of success not having any more cracking orc raising when I used more of this gak 800 Uh, for a while, pouring kind of blew up and you couldn't find liquid Tex anywhere. The pouring medium was just out everywhere online, everything. So I used on Lee Gak 100 at that time as my pouring medium, and that worked really well too. So you could do that. There are some other golden products that you can use a swell in the gas tax, but I haven't experimented with those much because I've had great success with ease, and I haven't really felt the need to, But you can always research that on play with yourself, but this is what I like. Um, so there's those now again that time where you couldn't find it anywhere. A bunch Artists got really creative in looking what else they could use at a medium on. A lot of people got this flood flow trawl. You can find it at the hardware store it's used for adding to paint Teoh paint like the walls inside a house. Um, so people started using this instead of mediums, and they couldn't find it anywhere or at a reasonable price. So this is really cheap in comparison to those on any given day. I haven't really experimented with this because I like the other ones, and this tank's like twice the time to dry. So that's tough on me already. Paint pretty big and then paint quite a lot. So to take up tables for like, 48 hours of drying time is pretty killer. So with these, it takes about only 24 hours to dry, and that really helps me out so you can play with this. Um, but I suggest those for really getting you know, your feet under you of knowing this process and then branch out and try all different things and how it affects your painting. One other paint and forgot. Emerging quickly is the artist law floor acrylic. This is what I use right away. I use a lot of white on this is really economical for me. This is a bit more fluid than the liquor text basics, but less fluid in the golden. Um, I tried some of the other colors, but I found cracking in them. The white I haven't had issues with, though, and sometimes they use a little bit of black. But I dio definitely make sure that I do my mediums really well in this that don't have any issues. Uh, but since I use so much white, this is the most economical option for me. So this is one of the brands, at least in this color that I can suggest for you 3. Extra Supplies to Create Cells: So for creating cells, you're going to need silicone. My favorite is this blasters silicone that I just got at the hardware store with this since is an aerosol. Can I also use a small container? Because I spray it in here first so that I get just the liquid without any of the bubbles. Um, and I have a little eye dropper to get it out. So this is my favorite silicone. Um, cells work by basically pushing things apart. So the oil is what helps you get that reaction? I've seen people even used like vegetable oils. Um, so again, this is my favorite silicone. I've also tried the three and one. I've also tried treadmill oil. Some people swear by these. I don't like them. His lunch, They didn't get as many cells or pop as much. But maybe I just need you to experiment with them more. And how many drops I used or not. So these are options, but I would experiment with them. Maybe later, if you want to first. Sure get things the way I did stick with the same products that I used. Dame Ethicon 500 is another option. It's a hair product. I got it on Amazon again. It's just another oil based thing to help these cell, um, process happened, so there's no other option again. Still not my favorite. This is my tried and true way to get cells, so it comes from mixing these into the paint. But then you need I, um I just have a little creme brulee torch. It's usually read whom. But I have covered it in paint. Um, it's it's small. It's easy. I can adjust the flame signs right here and turn it on and off right here. It's It's really easy to use even on my really large paintings. And then I have, um, butane is the refill for it. You can see videos online for how to refill this. I'm but you will need at some point a refill for your view, tain. But this is a really easy way. Once the pain has been poured, which you'll see in the demo use fire, Teoh, make the cells actually pop. Some people have been able to do it without this but me personally, this is how I know it will always happen. So if you're uncomfortable with fire, then you might just have to experiment more, But you really shouldn't have an issue with this. If you keep the flame up away, you're really not gonna have a problem. I've never actually lit the whole thing on fire, either. I'll just see some crackling and smoke and then, like, stop move away. Make sure your rooms well ventilated in, have some windows open. If you're really concerned about any off gassing that might happen, then just get a mask to wear while doing that portion of your painting. 4. Adding Silicone to Create Cells: All right, So now that I have my paint mixed, I could go on toe adding auditors. So, like I said, this blasters silicone is my favorite again. You could dio the treadmill oil or the three and one silicone or the method cone 500. Um, all of these I suggest when you're first starting out to just put a couple drops in as you learn what that looks like as a finished product, then you can try and add more and more or less. Um, each additive works a little bit differently, so you'll need to play with how maney drops toe add in of each one. If you're gonna use the blasters, I do not suggest spraying it directly into the cup. I used to do that, but you get to money little dried pinpricks in the final painting because basically, there's air bubbles that air popping on coming to the surface. So I spray it into this little jar I got just got it like a hobby store. Spray it in here. Basically, I'm just getting it into the liquid form, so these bubbles that air in here. We're getting in my paintings, Um, and that is what I did. Some texture stuff that I didn't like a little hard to show. You have to tilt it, but underneath is already some just pure liquid. You can see it in the corner there. Um so that's what I'm pulling out with my eye dropper and get below those bubbles because again, I don't want to get the bubbles in there as much as possible. So now I've got it in my little eyedropper here, and I've learned for me again it depends on how much paint you have. Um, one of things I like to do is not put the same amount in each color. So I have 123 for, uh, this is your foreign there, would you five and my white, Because I have a little bit more white and do for or more in the dark green. So again, I just like to mix it up on how much is in each one. Sometimes I'll even do greater variances like two drops and wine and eight drops in another , or sometimes none in a certain color, because I think that helps the reaction because basically, since it's an oil, they're like pushing apart. So with different amounts, I think it helps that reaction of them pushing apart differently. So you'll get small cells in one area, big cells in another. And I really like that variants throughout the painting. So now that I have them in these, and that's exactly how you do it with the others, that you just drop a couple paintings in the top. So now the key is to really mix it in. You want to make sure that it's not just floating on the top of your painting, you're a straight. Besides, get that paint all mixed up with the silicone that you put in there. So mix it up. Do that with all your colors. Now, Um, sometimes I mix a lot of pain at once because I'm working in a lot of projects. Uh, so my silicone sits either overnight or sometimes I'll put extra paint away and sealed bottles, airtight bottles. And so the silicone a sitting in there. Um, if you don't if you're pre mixing paint for a project that you're not doing right now, I wouldn't add silicone yet. It would only add it like right when you're about ready to use it. But if you're working on a lot or you had more pain than you realize, it's not a problem. This Teoh to keep pain that already has the silicone in it. But when you go to use it, you really want to make sure you make sure paint up again. And I might even add a few more drops just to make sure it's really fresh. Andi, you'll get that nice reaction. So now that I have the, um, silicone and all of them, I'm ready to do the dirty poor. 5. How To Fill The Cup For a Dirty Pour: All right, now we're ready to put the paint into our dirty cup. So dirty cop is just like layering paint in there. You're trying to get a lot of variants. You've got to make sure that the paint doesn't mix together too much in there. Otherwise, you're gonna get one blob of color. Um, so if you've gone back and watched my first class on puddle Poor painting, it's a lot like that. But now we're doing it into a cup. So I like to start with white because I usually like white on top of it. So remember, as you do this, whatever is on the bottom is going toe end up on the top. So put some rain here. I'm right handed. Who? But I will train pour some of them from the left so that you can really see in here Tried setting it up. So you can really see what happens in the cup as I put these in. Now you're not going to do it all at once. Um, you want to kind of like layer these up and you can move it around. It doesn't have to be right in the center. You see how some of the paint already kind of bubbling up in spots. That's what you want. Now I am only using three colors here just to keep things simple, but you can use as many different colors as you want. Now some people like to play with, um, pouring the paint from higher up. Do you think that makes different effects? Some like to go on Lee in the center, and then after they've done it, they'll run like a stick through it. I'm is my paint around a little bit more. So I don't run a stick through it. But all, Can you tell you? I'll show you a little bit more what? I mean that in a minute I'm getting pretty close to the amount of pain that I think is right for my canvas. Gee, I'm just gonna add a tiny bit more white and call it good. Since I have extra paint my cups, I can always add more if there isn't enough. So I've added what I think is enough pain to this, and you can already see a lot happening in there. Um, some people get even more bubbling up stuff. It just depends sometimes, but, um, if this isn't enough paint for my campus because I still have pain in my cups, I can always pour a second cup and add that to the canvas as well. You could even do that. Like if you have ah bunch of reds that you want to do in one cup and pinks and another cup , you can pour them in different patterns like next to each other on the canvas. So dirty cup doesn't have to be just one cup. I often dio like blues and one cup and greens, and another so that it creates a different pattern on the campus. It's pretty normal. Um, so dirty cup is just referring to what we've done right now, Um, I'm going to show you, pouring it onto the canvas. Some people also like to do what they call a flip cup. Now, that would mean taking the campus like this, I'm and putting it on top of your dirty cup. Let me use this one as example. So I've got, you know, the cut underneath, and then you flip it really fast like this. You're trying to keep all the paint in the cup and so you have your cup here. So that's a dirty flip cup. And then you pull the cup away and paint like flops out sometimes. And it's like this. You can pour white paint around it on gun, pull your cup up and help slow a bit better. I am not as big of a fan of the look of flip cups because I like the way pouring. I like how I can play with that a little bit more, but I definitely think it's something you should try. You can even do flip cups with more than one cup. Like I've seen people try and use those, uh, coffee cup carriers, though. Put like four cups on here like flip it with all four cups there on and pull it apart and stuff like that. So, really, you can experiment a lot, Um, as a funny aside here, I can see that my canvas has a bit of wobble to it. It really doesn't matter. I'm getting stuff on here because it all gets covered. But I can see that the campus isn't fully tight. Uh, and that's a bit of an issue with this kind of painting you really want your campus as level and flat as possible, so you can either switch out campuses or spray a little bit of water on here. And either let it naturally dry or use like a hair blow dryer. And it'll tighten that back up really nice and flat, which I'm gonna do, or grab another one. Because, um, you really need a level level level canvas for this process to work nicely. Coming back to this. Now you can see how more spots have shown up. Sometimes it's good to let your cup sit, even if you're not doing this method in your pouring. It's nice to let your cup sit so that bubbles from mixing rise up and pop in the cup before you've done, you're pouring. So it's nice that I got to talk for a little bit and let that happen. But now I'm gonna move the camera around and get to that pouring s so you can see what a dirty poor looks like coming out of the cup 6. Demo Acrylic Pour Dirty Cup Method: All right. I've got my cup steal that fun going on in here? I've got my level canvas, and now we just pour. I actually like to start on the edges and work my way in, but you can dio whatever feels right to you. You see that white? How it was the base that I put down these colors are mixing together, actually a bit more than I wanted them to. And you can actually just come back in. Maybe I want those streaks there sometimes. Like this. I see that corner right here a little empty. I'll take one of my stir sticks and see this extra painting here. It'll disappear because I'm gonna put stuff over it. So I'm just gonna put stuff here to help it flow. I don't want to get bogged down over there. I know that's gonna flow off. So it doesn't really bother me too much what it looks like. All right, so now I'm going to tip it. And don't worry too much about the composition. I'm just trying to get about the edges right now off those corners, set it back down on my little painting triangles and see what I got here, I think. Take it a little more into that corner. Here we go. No, I'm missing some on the corner here so you could use a trial like this Just getting their hot green. Grab some of the paint that's on the table. Put it on with your fingers. I like to make sure all the edges covered that way because I don't frame these. I really like the way that the pattern just runs off the edge. I love that. I don't have to. So again, just check all the engines. Usually I'm running all around the table to do this, you know, because if you don't go look over here, it's really hard to tell. So now you can already see some cells start to form here. I don't quite broken through. If I blow him, they do it a bit already. I think one of my gloves off because I'm going. Teoh, use my torch now. So just the flame up just a little bit. This is my lover to pull down. He started. Now you really want to make sure that you don't stay in one spot. You long because then you will like your paint on fire. I'm kind of covering the hole canvas right now, but you don't have to do that. If you have leave some areas without any cells, you can totally do that. Like, if I just wanted to stop right here, they'll continue to open up for a little bit as the opinion still doing that reaction. And I could just leave it. Sometimes I get a little overboard and I will get ah holding to be covered in cells. I'm kind of liking some of that more solid white here in there. I don't like this area. Got a little muddy. Things mixed a little more than I like, So I'm probably gonna go add some more cells, is there? I find the faster I go over stuff, the bigger cells are. Um, if I, uh, spend a little more time in an area obviously out train about that, though. We're kitchen on fire, they come back. Move around. I'm gonna get a bunch of little cells here, but again, keep it moving because you do not want to catch on fire. You will see it Smoke. It's not fun. Smells terrible. And you could just keep coming back over. No. You even when I come along the edge on but any stem cells there because obviously you want that effect to carry over the edges. Just keep doing that if you want. So as you can see this ended up with, the tennis cells really could have gone in more carefully and like just down along the white or along the darker strips. And you can do that. I tend to like the water cells, though, Um, so that's what I get. But this is where everyone can experiment a little bit differently. You see how many cells they do or don't like? Do you want it? Smaller cells maybe add less of the dime. Ethical. But that's again Justin experimentation because of the whole weird science on all of this. But now I will just let it dry, so make sure it's really level surface. You can also move it to a different drying surface, which I tend to dio so that I can keep doing messy painting right here because you can see there's tons of stuff everywhere. Um, but I will come back in about 10 minutes, 20 minutes up anything toe watch. If any of this is like drifted off to one side or the other, you can see the shapes will become distorted. Or sometimes I'll take a picture so that when I come back and check it, I can see how it's changed, because that will mean that your surface is not level that's going off to one side or the other, and you can fix it. You put some shims underneath on and try and stop it from continuing to go in that direction. But this panel, I was pretty much done. Now I just let it dry. I'd love for you to take a picture at this moment when it's still wet and added to the groups that we can see what it's like. And then when it's finished, you should take another picture and show that, too, and we can see if there was any change between the wet and dry. So I hope they had as much fun doing this as I did, and I can't wait to see your beautiful paintings 7. Troubleshooting Issues - Dirty Cup Pour: So I'm gonna talk about troubleshooting for the dirty cup poor. If you have other basic questions that have to do with maybe imperfection in the drying and things like that, I suggest you go back to my first class using the puddle poor. I've got a very long troubleshooting video there that talks about all the basics. Right now, I'm just gonna talk about things that pertain specifically Teoh A dirty cup painting. So obviously how to get cells. That's probably the biggest thing with Dirty Cup is that people really like to get the cells at this point so that again, really all has to do with using additives of some sort. For the most part, some people get it using a mix of, uh, cheap that craft paints and maybe golden pains. Or sometimes even people use acrylic house paints. So some people get cells by using varying types of pain together. Um, I didn't have consistent luck with that or the type of cells that I really liked. So for me, consistent cells comes from additives. One famous painter of this process even uses vegetable oil. I use silicone. I know that works, and it's tried and true for me, the only thing you have to play with at that point, um, is maybe brand or how many drops to put in. So, as I explained earlier, sometimes I don't put a drop at all in one color, and I'll put five in another. So experiment with how much off the silicone you're adding to your paints. There's a mixture based on the type of silicone that you're using. So this is where it's really hard to just take someone's answer as the Holy Graham because it's not. This is an experimental process, and it's about finding the equation that works for you. So based on the colors that I use paints that I use, it depends on how much pain I have in there. But I'm gonna dio at least 34 drops of my favorite silicone into my paint If I have a full cup like this, I even dropped 10 drops of silicone in here. That says, there's a lot more paint to mix it in with, uh, but some people find adding less. Silicone gives more cells, sometimes more. I think I'm more on the higher and adding more silicone to create the cells that I like. Uh, so unfortunately, I have to just say experiment, Use what I've taught you keep playing with it until cells form for you. But I promise that you will get cells if you do it the way that I did. But obviously you also need to add heat. Some people have found how to do cells without the torch. But for me and my process, the torch is really what opens the cells up. So that's my tried and true method. But feel for unifying different ways to get cells that you like and in ways that you like. So if your pain's gone money as you've poured it into the well, you'll see it. When you put on the campus that things are muddy on. That's when paints Excuse me, uh, have mixed together too much. Firstly, I find if my pain is too thin thin, they're most likely to start mixing together in the cup more than I would like. It also can do was how you're pouring the paint into the cup. So, um, when I first started, I think most excessive trying to be as basic as possible with pouring as you get used to it . You've been trying different methods to see what comes from it, so I would just pour very simply straight into the middle and keep doing that. Um, and then if you're feeling experimental, you could take your stirs dick and just go once like straight through. And that's the only that I would do for your very like, first time or something if you're a little more afraid so then poured onto the canvas and see what happens. Um, but that should ensure if you've done the right consistency that paint shouldn't get, um, money. As you get more confident, then you could do like what I did in the video, where I don't mix in the cup it all anymore, because I found that I would usually overmix, and that's where my problems would be. So I did more the mixing with actually pouring it in, but not doing straight into the center. I would poured around, pour it through, and that adds, a lot of the variations went your pouring it onto the canvas. So again, to reduced any muddiness, make sure that your pain isn't too thin and make sure you haven't mixed it too much in your cup before pouring it onto the canvas. Uh, if when using the torch, if you liked the pain on fire obviously pulled the torch away and try and let the fire go out. I rarely ever actually see any really fire. You will hear kind of a crackling noise and you will see smoke. And so that's when you know you have left the torch too long in one spot. It'll be a little wrinkly there, but if you just basic because you drive that spot now, so if you just leave it alone and will be fine, you haven't like, ruined your painting yet or anything. She just kind of move on. Leave that area alone and trying notice how long you spent there and not to do that again. Sometimes that means just pulling your torch further off your canvas, turning the flame down or making sure you're really moving around more to prevent any of that smoking and fire. Um, and the last thing for this. If when you're pouring the paint on canvas, if a certain color has completely disappeared, then you're back, Teoh that it's probably the wrong consistency it just sunk below everything else. Or maybe you didn't add enough of it, but a majority of the time, you could have to do with where you put it in the cup. The bottom color will usually end up on top because it comes out last, um, so it may dominate the other color. But most likely it's because the color that disappeared is too thin in comparison to the other ones, and it was covered up by the others because it sunk below it. So make sure that all your pains are the same consistency with each other. Um, and that's most of the problems that people have with during the dirty cut poor. If you come across any others again, make sure watched my first class with the public or paintings. They cover a lot of other basic issues in that class, but you can also feel free to post any questions. I've done this trouble shooted a lot on my own, and I'm sure I can help you with anything. You're coming across