Transcripts
1. Welcome: [MUSIC] Hey, I'm Denise
and I want to welcome you to our acrylic pour class. So this is a class I am
personally super excited about because I'm addicted to pouring acrylic paints
on my canvases, because you get such random, beautiful things
when you're done, which is some of
the favorite things I love about creating art. In this class, I have tons
of good things to show you. We're going to start off
with some easy pours and we'll look at doing
pours on different surfaces and how they react to those. I'm going to take a look at three different
type pour mediums that you could experiment with and we go from the ultra cheap, getting things from
the craft store and the hardware store, all the way up to getting more archival-type products
from the art store. So I've got lots of good
things to show you on there. We'll also look at doing some
larger pieces. That's fun. This is 11 by 14
canvas that I love, that I'm going to
hang in my house. I also compare different
types of pouring mediums and the results that you get depending on what
you choose to do and what you choose to pour on. Then we'll take a look at
going into making some series. I have several little series that I have personally created where you take a range of colors and you pour them on a series
of boards or canvases, and you get such totally
different results every single time, but each one is
equally beautiful. So I'm pretty excited
about working in a series and even in along that vein, we'll look at working in a
series in different sizes. So you can have
whole collections that you've created with
different colorways. That's particularly fun. Then, as if all of
that's not enough, I'm going to show you how to make some things with
your leftover runoff paint, like some necklaces
and pretty charms and things that you can make
into jewelry or key chain, fall bows, [NOISE] all
kinds of little pretties that we make with the
leftover runoff paint that comes off your canvases. So this is a packed class. I'm pretty excited about everything that we're
going to do in this class. I can't wait to
go downtown today and buy some more boards and work on a new series because I'm telling you, it
is the most addicting thing. [LAUGHTER] I can't wait to
see what you end up creating. So hope you come
over to the group and show us some of those and I will see you in class.
2. Supplies: [MUSIC] Let's take
a look at lots of different supplies that
we're going to consider using in this pouring workshop. You don't have to
have everything that I have sitting
here on the table. I'm just giving
you some options. I'm giving you a few options
to do it super cheap, or a few options to do
it more like a fine art. You're just going
to decide what is your end purpose for the pieces you're creating?
Are you just starting out? You want to experiment with this technique and you want
to keep it pretty cheap, then I have one option for you. If this is something
where you want to make nice pieces for your home, and pieces that you might
want to sell later on, then that's more of
an archival type of piece that you'll
want to be creating, and I have a different
option for that. Let's just go through some of the supplies here that
I've got on the table. We'll start off with
your substrates. You can do acrylic pours
on any stiff surface. You can do it on a
piece of canvas board. This is just like an archival
mat board type of thing. It's stiff, you could
probably even use mat board. What I'd probably do on ones
like this or mat board if you choose to use something
stiff like that or even like 300 pound
watercolor paper. Let's go ahead and maybe gesso
the surface so that it is primed and ready for an acrylic
paint to go on top of it. If you leave it unprimed, I'm afraid you might create
unwanted air bubbles. Go ahead and prime
that surface with a gesso or a primer and
you'll be good to go. This is just like a real heavy-duty card
stock type paper. Another option is canvas, and you can do any
canvas really, but if you go with the
super-duper cheap canvases, the center is likely to dip more when you put the amount of paint on there
that we do for a pore. I would caution you on the really cheap canvases
to be aware that your dip may all
go to the center if it moves too much
during that pouring. Maybe a slightly nicer grade of canvas would be a good idea. That's another choice of
a surface you could try. You could also do acrylic
pours on cradled board. Those are really nice. Again, you'd probably
want to prime that surface before
you pour the acrylic on it to keep the wood from producing lots of extra
air bubbles in your paint. Then another thing
that you could work on is canvas panel. You can get
inexpensive packets of canvas panel at the art store and at the craft store usually, and these are just so that
you can do a whole bunch of practice for a relatively
inexpensive price. You can also do acrylic
pours on objects, you can do it on cardboard, anything really that's stiff. You just don't want it to be
something thin and flimsy. You've got a couple
of choices there on things that you
can pour paint onto. I also use during this workshop, clear cups, this is what
I use to mix my paint in, so I do like having
these little clear cups. I also have two
sizes of the cup, and the more shorter one
is usually what I am letting my piece sit on so that it's raised and the
paint will fall off of it. I do like having some sugar
cups to be mindful of stains. [NOISE] Definitely, use a
bunch of cups in this process. [NOISE] I also use these wooden craft
sticks and you can get this as the jumbo size, and I like this size because it's easier
to work with to me, but you can get the smaller
popsicles size too. You just want to have
a little collection of these craft sticks to stir
your paint and to work with. I've also got a level because whatever surface
you put your piece on, if we have, say, two cups on here, and then we've got our
panels sitting on here, we need to make sure
that this surface is level both directions
before we pour our paint. If it's not level, then we may just need to prop
up one of the sides until that bubble is in the
middle where it should be in both directions. What that will do is allow
our paint to then spill, but not all go to one side because once you walk away
to let this dry overnight, if the surface is not level
when you go back tomorrow, it may be drastically different
than when you left it. [LAUGHTER] I also keep a whole box of
rubber gloves handy. If the nitrile gloves are good, if you're allergic
to the latex gloves, but just have lots of gloves handy because this stuff
gets pretty messy. Then I got these
yummy little pans which these only work if you're doing up to say by 9
by 12 piece of art, which is about that big, and you can see that we're to
the edges of the pan there. But if this is raised a
little bit and it's dripping, it's just big enough because the pain is not
so wild that it's jumping off the table
and doing stuff. It's just dripping down the side and as we're
moving it around, we're keeping our paint
in our little pan area. This is the size of a baking cookie sheet that
you use in the kitchen. It's a lightweight disposable
aluminum one that I got at the grocery store
because I wanted to have a couple of the surfaces
that I could work with and set to the side and then do some more
pieces if I wanted. [NOISE] I've just covered this
with a piece of wax paper which you can get at
the grocery store. This is just, I call it here wax paper because the paint
will come off of this. As we're doing pours, we're going to end up with
lots of paint that ends up underneath our
piece and we want to be able to possibly
use that little bit of paint later on because I've got some fun jewelry pieces that I'm going to show
you that we could make with some of the leftover acrylic paint
that poured in the bottom, which we're going
to call a skin. We'll be able to take that
a little bit of paint and peel it right off
of this wax paper. Then we'll be able
to mount that in, say like a pendant are
some fun piece of jewelry. Then you can have some
little jewelry pieces too. I plan on showing you
that a bit later. I do like having the wax
paper for everything to fall on and to create acrylic skins. These are just a couple of
dollars for a set of two. It's such a nice size, you just want something
to catch your paint, it don't have to be
with really tall sides, but I like it because those
sides are about an inch tall, [NOISE] maybe a little bit less, and that will definitely
catch any spillover. Then like three
bucks for a couple, so it's pretty inexpensive
to have those. [NOISE] This is a straw [LAUGHTER] because some of the pieces you might want to blow the paint and
make a pattern, and you can do
that with a straw. This is a straw out of my sports cup that I fill up with water
to take to the gym. I thought why buy a packet
of straws when I had these great big
heavy-duty straws in my cup that I take
to the gym with me. But you can use a regular
straw, you can use these, I'm also going to
randomly experiment with my little tiny air
compressor [NOISE] because it's nice and I can control it may be better than
blowing through a straw. I'm going to give it a little
try out while I'm playing. This is like $50 or
$60 type investment for the littlest
little airbrush. But I love it. It's fun. I play with that and
we'll airbrush with alcohol inks and some
other art mediums. Since I have it, I thought, well that would be fun to experiment here with
the paint pouring also, and might save me blowing
through a straw quite so much, but I do have a straw here
available if I want to use it. [NOISE] What kind
of materials do we use to pour paint and what
can we use to go with that? I've got a couple
of options here. If you're wanting to
just test this out, stay as cheapest possible, more on a budget, we don't
want to spend that much. Then we can go the
economical route, which is not
considered archival, but it is in inexpensive
as you can make it. What we use with that method is craft paint or cheap paint from the craft store, any color. What's really nice about
that is they come in lots of already beautifully
mixed colors. Doesn't matter the brand, it's just cheap craft paint
from the craft store. What we used to go
along with that, we get at the hardware store. [NOISE] You could
either use Floetrol, which is a paint additive that improves the flow of paint. This Flood is the brand. We can do a mixture of Floetrol, water and, cheap paint. Then that is the least
expensive route that we can go. We can also, if you don't
have access to the Floetrol, the other inexpensive
option is PVA glue, which is, I don't know, polyvinyl acrylic or something, which is basically Elmer's
glue or Mod Podge. You would do again a
mixture of the glue to the paint and some water to
get the right consistency, and then that is your flow
color that you'd be using. These two items are the way that we start
off super cheap. You get them at the
hardware store, and when you're making these just to give
you an example, [NOISE] if you're doing
like a 9 by 12 panel, you're going to have about
this much of the liquid, let's say about this much of
the liquid of each color, and you need four
or five colors, and this is the size
of a ketchup bottle, and I did two paintings
with one bottles worth of liquid stuff that I could
use to mix with the color. That's probably a pint, so couple of
paintings per pint is what the pouring medium goes. It does go pretty quick. That's why if you're going
do a lot go ahead and get a big container of
your main medium. Because with this
we'd use the glue, we'd use water and we'd use paint and it's probably
going to be like 50/50 paint mixture to
50 percent flow mixture that we'd be using and we need quite a bit, per painting. This will go pretty fast. If you just want to do one
and give it a try out, then you get the
smaller container. If you plan on
doing quite a bit, go ahead and spend the $15
and get the big container, because that's about what
that big Elmer's is. This one here was about, I want to say 7 or $8 for court and that'll go pretty far. I can get probably 5, 6, 7 paintings out of
that to give it a go. That's too cheap choices. Then if you want to create
those really beautiful cells that you see on a lot
of these paintings. Now we're going to be using
100 percent silicone oil and you've got some from
the hardware store, and you got some
from the art store. If you're going to cheaper out, get the one from
the hardware store. This is over in the
hardware department. It's used to lubricate tools and clean your
tools and stuff. It's over there in
their hardware section near the tools and where
they keep the WD-40. It cannot be silicon caulk. This is not caulking. This is an actual liquidy oil, 100 percent silicone and this is the cheap version from
the hardware store. Those are what you're
going to use if you're wanting to cut costs, you're just getting started. You want to figure it all
out and you don't want to break the bank,
that's your options. This is your another option. If you're wanting to go more archival and you
want to be able to make quite a few paintings
and you want them to be able to sell to customers
later and do things with them. This is the Liquitex
pouring medium. It does come in several
different sizes, but when I go to
film a workshop, I don't want to just
fill one project, I want to film many projects. I thought if I bought the
smaller container that I would run out and then
have to drive across town to the art store
and get some more of it. I thought, just
give me the gallon. This is a pouring medium and it dries clear and
it's basically a really liquidy medium
in there and then we have the silicone oil and some
silicone oil cell medium. Two different silicone
oil choices that you can find at the art store and
this stuff goes a long way. You only need 2-3
drops in your cup. This one container
would probably last me forever and then I have this silicone oil medium by Vallejo and it's a tiny
bit thicker than this oil. It's more like a gel, but it does the same thing. You could get the
silicone oil from the art store or the one from the hardware store
and be just fine. The only thing that's
not been proven for longevity is how the silicone reacts with the layers over
years and years and years. That's the only thing
that hasn't been proven. That might be the only aspect of your whole project that
might not be archival. But we just don't
know, there's not enough information out there. These techniques have only
been popular for a couple of years and we just don't know if it's going to last
100 years or not. That being said, it is fun to have the silicone
oil in it because that's what makes the
pretty cells of color and that's the pretty part of these is those cells of colors. You do want to
experiment with the oil, just know that your piece is questionable as it's going
to last 100 years or not. One fun thing that I
forgot to mention with this flood product is it naturally creates cells
without the silicone oil. This product you
would add in with your colors and not have to use the silicone oil and you will
get some cells of color. They're a little
bit softer cells, and these are a little
more dramatic cells. Just a different option there
to experiment with and in our nicer mixture and we can use these with the
flood and the glue too. These are just more options, little bit more expensive
than the cheap craft paint. It will be a little bit
nicer on your finishes and the amount of
pigment in your paint. It may use less paint to your pouring medium
versus the craft paint, needing more paint to
you're pouring medium. Whereas the craft paint would
be like a 50/50 mixture. These might be 25
or 30 percent to your mixture and if you go up even higher to the
fluid acrylics, that might be 20 percent
or 10 percent of paint to your mixture because the
nicer the paint you get, the more pigment you have
in these little bottles. You can use
heavy-bodied acrylics, you can use
medium-bodied acrylics. These are like student grade, and that's perfectly fine. You can use nicer grade paints, like some of these
bullet paints, these are nicer than
the craft paints. They are very heavy pigmented and they are
a little bit more of a fluid-type acrylic and
then you can move on up to the fluid acrylics and there's a couple
of different brands, the Vallejo and this is Utrecht and then
there's also Golden. Tons of options there on the fluid acrylic brands and they're all really nice,
very highly pigmented. It requires less paint
in your mixture, if you go with the
smaller containers, they will go further. It's not like you're using
the whole container for one project. Then you can also
use the high flow, which is the super
liquidy paint and again, these are highly pigmented, so it'd be less paint in
your mixture that you'd be required and you can
use acrylic inks. Basically, anything acrylic [LAUGHTER] is the point there. Lots of different paint options
for you to think about, including the cheapie FolkArt or Martha Stewart any of these cheap craft paints
that you could think of. Then after we make our paintings and we absolutely
love what we've ended up with then you're
going to want to think of ways to finish it and you've got lots of
options that you can finish. You can leave it just like it is if you're doing
these canvas panels, those you could actually
even consider framing. That's another option. For finishes, we can do
like a Krylon varnish. You want to non-yellowing
type urethane. We can also paint on a urethane finish if
we wanted to do that, you could do a gloss. This an art urethane. It's not the one from the
paint store by Vallejo. Then a third option
that's always super popular with a lot
of these is we can do a Resene top coat and that makes these
really beautiful. I do have some art Resene
available here in my art room. The other thing that
you're going to need to have access to is a torch and I have
more than one torch. I have a little butane torch that I got at the
art store and it comes with a little
butane filler. You can get a kitchen
torch off of, say, Amazon or from a kitchen store that has a butane bottle that attaches to it and it's the
same little configuration. That's really nice. Or I also have a great
big torch in my art room, which I may be using on
some of these pieces. This, you do at the end of
working with the piece, but before it's dry, because this is going
to heat the paint up and bring out the cells. Now what it also does is
make that top layer dry. You have to be careful how long you hold the
heat on something, it's just not going to
react anymore because it's created a little dry skin
coat on the top of it. You're going to have
to let it all pour, maybe do a little bit
of the flame to get the cells to really show
up, and then that's it. It's a very tiny amount of fire use here with
these little things. But I did try it
with the heat tool, and did not really get the
result I was hoping for, and then the top dried
on it making that skin. I don't think a heat tool
really does the same as a little tiny bit of a flame if you want those
cells to come out. But you don't have to
have that to get started because I noticed
on a lot of these, as I was pouring it on a
lot of these cells just naturally came out
from my mixture without me having to
put that torch to it. You can start off without it
and then when you want to advance to more
advanced techniques, then start playing with
little torch and what I like about these little ones is they got a nice safety feature. You have to unlock it and then you can hit the fire
and then when you let go, the fire has stopped
and you have a very low chance of doing any damage
with this tiny flame. I'm sure that along
in this class, I'm going to
introduce something I forgot to tell you about here, so I'll apologize now
if I miss something. But this was just
to give you an idea of the different things that we're going to be looking at and working with here in
class and how you can make it cheap versus
a little bit more expensive but more archival with the supplies that
you choose to use. I will see you back in class.
3. Keeping an Art Journal: [MUSIC] This is a
piece that I was just experimenting with
here in my art room. What I want to tell you about that I want to
encourage you to do from the very first
piece that you pour is start to write down
in a little journal. This is just a little mixed
media pad from the art store because I had it
available to me. In some type of journal, what I want you to do
from the very beginning is make note of the colors
that you use in each piece. Let's call this piece Number 1 and we can put a Number
1 on the back of it so that we don't forget. I put a Number 1
on my page here. What I want you to do for
each piece that you do is I want you to list out
the colors that you've used, what brand it was, what color it was. For instance, on this one, I used this Blick blue light. I used the Blick brown, which is another one of these. I used a Blick pearl white. It's randomly one
of these over here. It's warm gray. Anyway, list out your colors
and then I used white, which is basically your
titanium acrylic white. I'm not sure where I
stuck that container, but it's basically
your white white. This is the four colors that
I used in this painting and then I put the method
of stuff that I use. With this one, I used the
Liquitex pouring medium and the silicone oil, and that's the exact
recipe and colors that I used to
create this piece. The reason why I want you
to keep a little journal and number your pieces, say, on the back or
in your journal, so that later, if
you have something that turned out amazing that
was totally unexpected, then you can put,
this was great. I loved it. Let me use
these colors again and know what colors you use. I also have it like this because with this one
color, here we go, the Blick pearl white, so with the rest of these, I've poured this out and the
paint was really smooth, it mixed up really
easily in my cup. This particular one
came out clumpy and it was hard
to mix in my cup. I believe that it made a
couple of spots on my piece where I must not have got
all the clumpiness out and working with the
clumpy paint is fine, it just takes much longer
mixing than a non-clumpy paint. I may not want to
use this one again, or I just want to
know it was clumpy and I'll be able to know by
the little notes that I took beside the piece that I did. I want you to get in the
habit from the very beginning to keep a little bit
of an art journal, number your piece and
number on the page so that you can then
later come back and refer to what
colors did I use? What pouring medium
that I go with? How did I create that
colorway that I loved? If you are really industrious, take a picture of it,
print the picture out, and put the picture
here in your journal so you don't have to remember
later which piece that was if you wanted to
pack these away or give them away to other
people or sell them. Put a picture on your
little art journal with it and then you'll know later how
you created that colorway. I hope that is inspiring because the reason why
I thought of this, so I do cold wax paintings also and I started out with that, making little journal sheets to go along with my
little sample sizes so that later, if I
loved this colorway, I could repeat it and I knew
what colors that I used. This is one of my own
personal favorite ways to keep track of things that
I might particularly love. Then I'll know
what colors I used and I could duplicate it again. It's a nice little habit to
get into with your art pieces, whether it be oil
paint or watercolor or these pours that we're doing so that you can later
duplicate those pieces. Because I did not do that
for every single piece, like these don't have it and who knows what color
that I used on these. If I wanted to duplicate it, I would just be guessing. Whereas if I had just made a
little sheet as I was going because you've got a
couple of color poured once you get everything
mixed up for your painting, you could just dip your
finger in your cup, put it right on your paper
and then you will know later what colors you used
to create that piece. Because like this is beautiful and I might not
have ever thought to do a larger piece
in this colorway, but now that I have
it and I'm like, I love those, I'm glad I have
the colors to go with it. I hope that you will give
the little art journal a go as you're creating pieces. If you come and share a piece, it would be great
if you let us know the colors that you used because what if I want to create a colorway that you've created and if you tell us those colors, we can all experiment
with some fun colorways. Definitely consider keeping a
little art journal of colors and your pouring medium mixture, and then consider
putting that picture in your art journal with it if you're going to
give your pieces away or sell them or what have you. I want to show you one
last thing that I decided as I was doing some pours. To do these pours on wax paper, this is how we're
going to end up with some yummy leftover paint and the nice thing
about that is that this paint peels
off of this paper and leaves you with a paint
skin when you're all done. These are what we will use
to create some jewelry a little bit later in class. But I thought for
your art journal, that it would be
genius to go ahead and on whichever page
you did your colors, just take a piece of that skin, preferably a piece that you're
not completely in love with for a piece of jewelry and stick that on the
page with your colors. Then that's a really
nice way to keep up with what the colors
ended up looking like as they were mixing
on the paper. I just wanted to
throw that in there that as I was looking at these
skins that we're keeping, that might be the
perfect solution if you don't want to go
through the trouble of trying to print a photograph out or trying to keep up with
what painting went with what as you create more
and more of these. If you just take a little
piece of that skin, put it on that page
there with those colors, you'll always remember
how that's going to blend and look for you
on a bigger piece. Just a little extra tidbit
there that I came up with as I was looking at
these extra skins that I had from the
pieces I poured. I'll see you back in class.
4. Priming your surfaces: [MUSIC] Let's talk about
priming your surface. I did a couple of
pieces of my own with the surface not primed and I believe that
I might even said that these were primed
canvas surfaces. But I think the finish ends
up better if you go ahead and do a real thick coat
or two coats of gesso. I'm just using the
Liquitex Gesso. I've actually prepped a
whole bunch of boards at the same time. I'm just using a cheap
paintbrush to put these on. I'm going to go ahead and
get down to the sides. If it's a thin coat, I'm going to put a
second coat on here. Then I also have several boards that I have
primed in black gesso. I have the Liquitex black
color gesso that I'm using. You can use any paint primer that you've already got or
you're comfortable with. I just happen to
have gesso here, handy someone hadn't used it. You're going to get
different results with different colored primers
on your finished piece. The black actually
makes your colors more vivid and stand
out a bit better. I like having a few
black and a few white already primed and ready to go. You do want to go ahead
and prime your surfaces. That make sure that
everything is sealed down. You're less likely to have air bubbles come out
of your surface. It gives it a nice smooth
finish to begin with and a little bit more prep
that you do at the beginning, the better your piece
will be at the end. Another thing I want to mention, you want to prime any canvas
panels you're doing too, any panel at all that
you're working on, whether it be flat or with a
side, definitely prime it. Then the other thing I want to
mention is on the backside, if you want to have a
nice clean back edge, then you definitely want to tape the bottom
side of your piece. Just like that. Then when you're all done
and your piece is dry, [NOISE] peel the tape off and you'll end up
with a clean edge. To do that, I like
the green frog tape, which is a painter's
tape that's found in the paint department near
that blue painter's tape. But what's nice is
[NOISE] the frog tape is a little bit sturdier
than the blue tape when you're pulling stuff off and the line it pulls
is generally cleaner than the blue tape
line pulls off. I do like frog tape, but you can use that
blue painter's tape too. If you're doing the panels and you want to
keep a clean back, you could take the back
of the panels also. But these are paper covered so they're not a piece of wood. When you're pulling
the tape off, you may pull off some
of this paper backing that backs the back
of those panels. I would recommend you start with white and black
primer or gesso and prime your surfaces
in both colors and test them both out and just see which one
you end up liking. I want to show you, since we just primed our
canvases in white and black, I'm going to show you how
dramatically different those surfaces are when
you put your paint on it. This canvas was primed white and you can see the colors
are a little more subtle. This canvas was primed in black and you can see that the
colors are really super vivid. I used the exact same
colors on both canvases. There was white,
there was bronze, there was this peroneal
orange, and aquamarine. You can see the colors
are fairly bright, but huge difference
in the turnout if we do a white canvas
or a black canvas. Black really makes those colors vivid and stand out
really dramatically. I'll see you back in class.
5. Mixing our paints: [MUSIC] Let's talk about
mixing our paints, and the very first
mixture I'm going to do is probably the least
expensive route. That's using the PVA glue. In my case I'm using this Elmer's glue all glue which came from
the hardware store. You can get this giant container for not very much money at all. I'm going to say it
was less than $15. That's a lot of stuff
that we can make in that. I've put some glue in
the bottom of a cup, and for this, when I'm all done, I'm looking for maybe
three-quarters of an inch of product in here. I'm doing this on a
nine by 12 board, so four to five colors, and it's plenty of
paint for a nine by 12 if we have about three-quarters of an inch at the bottom of this cup. So I've started out with just
about half the amount that I'm going to end up with
probably of the glue. I've just poured
it right in there. Then I've also got a
craft stick over here. I'm going to introduce one
extra color on this piece. I've been doing several
test with the blue and the orange and the
white and the bronze, so that I could see how
different pieces would end up if I did a white canvas
versus a black canvas. I'm using fluid acrylics, and with the fluid acrylics
on this cheap mixture, it really doesn't
take that much paint to your mix because
it's so very pigmented. Actually we could go ahead. Let's just use a
heavy bodied acrylic. This is like a medium
body in a pink. Let's just use that
similar to that pink. If I'm doing this pink, it's just a couple of squirts and I probably
have enough paint. If I'm doing this thicker paint, I'm just going to
squirt some in. It's not really exact. The glue is very thick and see, it mixes right in very easily. But you can see how
thick and clumpy that is if we try to
leave it like that. At this mixture, I have to
mix in a little bit of water. I don't want a lot
of water right at the beginning because if
you get it too liquidy, you'll need to add more glue into your mixture
before you can use it. You don't want it too liquidy. On these I've mixed them up. The goal is to let
it be streaming right off your stick
fairly easily. You don't want it so liquidy that you're not
getting a good stream. The goal here is just a
nice liquid consistency. If you need a little
tiny bit more, that might be too much. [NOISE] I don't know.
That seems all right. You'll know, you just want it
to flow off really nicely. That's flowing
perfect, I love that. Very little water. Now the thing about mixing stuff like this is you're
introducing air bubbles. You have a couple
of options there. One of the things
I do is I will tap [NOISE] cup on my table and get the air bubbles to
all come to the top so I can smash them against
the edge with my stick. [NOISE] You don't want
the air bubbles left in there because you'll see those when they
pour out, they're obvious. You can let your
paint sit for a bit. You can cover it with plastic, look a piece of Saran
wrap and just cover the top of these and let
it sit for a little bit. If you got an errand to
run and then come back, [NOISE] you can tap the cup like I'm doing to get the
air bubbles out. [NOISE] You just
want to let those sit for a bit and
just make sure you've got them all out
before you start mixing any of your colors. That's the first
way that you can do your color mixing with
the armors and the paint, and just depending on what
kind of paint you use, you may need a little
bit more or a little bit less of water added into your mix to the point that it's just streaming off
there really smoothly. That's the probably
least expensive route for mixing colors. The next color
we're going to mix is with this flow trawl flood, and this stuff is
nice and liquidy. Again, about the same amount in the cup as we were doing
with the glue perhaps. This stuff is super flowy, just like it is. I can tell right now that unless I'm adding
in super thick paint, I'm probably going to
be really good not adding in any extra water. I'm using the fluid
acrylics here. This is the naphtha red and
it doesn't really take, but maybe 20 percent of paint
or maybe a little bit less. Then just stir that up. That is already a really nice flowing off
the stick mixture, so no water needed for that. If you have some
thicker flow trial or some thicker paint and it's not flowing as easy
as we feel it should, then you can add
just a dab of water, but really not very much at all. That super fun [NOISE] is
using the flood flow trawl. What's nice about the flow trawl versus the others is this will naturally make those
pretty cells of color, whereas the other
paint colors that we mixed will not
add cells of colors. If you're doing the glue mixture or the pouring medium
by Liquitex mixture, then you might add in a
dab of the silicone oil. Really, I'm just going
to come back over here. It just requires a drop or two, not very much at all. You don't want to squirt
the whole bottle in there because if you overdo
it on the silicone oil, you will cause craters to occur. But we're just going to mix a little bit of
silicone oil into our- this is our glue colors
here over here still. A little bit of silicone
into that orange. This red, we've got
the flow trawl. I know the flow trawl
already makes cells, and while I've never
really experimented with mixing the different pouring
mediums with each other. You could definitely experiment with that but I normally would use one flow medium
for a whole painting, I wouldn't normally mix them up. The only reason I have
them both on here is we're looking at how to mix the paint. We're building up here with the different types of paint
mixing that we're doing. The Elmer's glue variety being the least expensive route
you can go and then, of course, you can mix that with craft paint or as cheap
paint as you want. The next route was the Flood
and this is about say, I think maybe it was $10 or
$15 for this chord size. But you see there's a lot
less here than that gallon of glue for about
the same price. The flood is your medium
price point and then the Liquitex professional
pouring medium is the most expensive route, and you'd probably
get a coat of it. The bottle is this
size for like 40 bucks and you probably get 4, 5, 6 paintings out
of that depending on how much paint you use and
how big your paintings are. I've put some of that in a little bottle just to make
it easier to work with. If you have one of those
Liquitex coat bottles of the pouring medium
and you think next time, oh, I need to get the gallons, save that little bottle and you could just
keep filling it back up from your bucket because you can't just pour
out the bucket very easily. I've actually put
that medium here in a condiment bottle that
I got at the Walmart. Basically, for this here again, I'm going to pour
about a half inch or so of pouring medium in here, and then what other color might we want to
randomly introduce? How about some of this gold? I'm going to pour some gold in. Then the difference with this versus these other two methods is I'm going to add
in the Gac 800, which is an extender, and it's a low crazing extender for pouring acrylic colors, and what it does is when you pour your paint
onto your canvas, sometimes if you don't have, say like this crazy in there, you get craters of color, so instead of your surface
being nice and smooth, you have different craters
where those colors made cells. Especially, if you use
the silicone seal medium. Anywhere you have
those cell color, sometimes you get
a crater and this helps prevent some
of that and give you a really nice even surface when it's spread out and drying. If you're going to go the
Liquitex pouring medium, you definitely want
to add in about, I'd say 20 percent of the Gac 800 into that little mixture, and then stir all those up, and that is a really nice
mixture to experiment with. We've gone from cheap to still
cheap to little bit more expensive on the different types of medium that you can use
to experiment play with. I would probably when
you very first start, start cheap and
work your way up to the most expensive route for art projects that
you're going to sell. But this is the
three different ways that you're going to see
most people out there using. The flow trawl is nice because
it creates its own cells, and then the glue
and the Liquitex, you would add your
cell medium too. That's the formulas
that I'm going to use throughout the class to
create different projects, and it really doesn't
matter which medium you decide to go with
when you mix it up. You're going to mix a color and then pour all your colors, perhaps into one of the colors, and then pour those
into your canvas. That's how I mostly play with these and that's a lot of fun. Then on some of these, we'll take our cups
and maybe pour them on the canvas and do a little bit different technique that way. I hope you love seeing
the three different ways. Least expensive,
still inexpensive, most expensive for
your pouring mediums, and then I'm going to get
ready and do a few projects with the colors that I've mixed up so that I don't
completely waste them. [LAUGHTER] Let's look for a
moment mixing our colors. I've started off with white, and then I've just
started pouring the orange and the blue
and the bronze into here. I'm trying to make sure all my air bubbles are out of here before I start pouring because remember
those will show up. Now, I'm just going to
layer some of these colors right on top of each
other in the white cup, and I'm not stirring
these up in the cup. I'm simply going to pour all of these colors right into my cup, right on top of each other. Any thickness or quantity
or design that you want there until I'm
completely out of paint. I'm just going to keep
on layering those in. This is the Elmer's glue mixture that I've got that
we're pouring in here, and then I'm using
my little craft stick to scrape the edges. I don't want to waste any
paint, if I can help it. [NOISE] Once you've got all your
paints in the one color, now, you don't
want to stir that, and if you do maybe
one turnaround the cup but after that, don't stir it and you're
going to let that sit for a moment while you get
your canvas ready. [MUSIC]
6. Paint Disposal: [MUSIC] Let's talk about
paint disposal for a moment because I don't know if
you know this or not. But you're not
actually supposed to dump your paint down your sink. The reason being is it's not
environmentally friendly and it will more than
likely clog your pipes because the paint will build up and you'll end up
with pipe clogs that are impossible to get out. I want to talk a
little bit about what you ought to be
doing with your paint to be a bit more
environmentally friendly to the Earth and to your pipes. I'm using a little
plastic cups and with the little plastic
cups, these are disposable. But what a lot of people do is they'll use these or
little silicone cups and they will set these to
the side just like that and let the paint dry and then the paint will
peel out of the cup after a couple of days. If you're using a
little silicone cups, especially those would be reusable cups that
are excellent to use, silicone cups you
definitely set to the side, let that paint dry and then you just peel
the paint out of the cup and then you can throw
that dried paint away. You can't actually throw paint containers
full of wet paint in your kitchen garbage because that's not
environmentally friendly either. But you can throw away
dried pieces of paint, like what you get out of
your cup after it's dry. Then if you have paint water, like what you're doing
with your paint brushes when you're cleaning them out, you end up with
dirty paint water. I know that's super tempting
to throw down your sink but what's better for the
environment and your pipes is if you will maybe have a
little catch bucket outside and you could put a hole
in the bottom of it, put a few pebbles
down there to keep the hole clean, clear, and free. You could fill the
bucket with sand and then you could pour your
paint water through the sand so it filters the water out and lets the water go out
the bottom of the bucket. But it catches all
the paint particles that are left in your container and that's one way to
filter the water out but keep the paint is a
sand bucket like that. Another way is just to
have a bucket outside and put your dirty
water in that bucket and let the water
evaporate out and then you're left with pink
residue at the bottom and when that's dry, you can peel out your
bucket and throw it away. Or if it won't peel
out of the bucket, it's just dry down
there and it's fine, and if your bucket
eventually just gets too full of dried paint, well then you can throw
the dried paint away. I just want to give
you some ideas there on how you might get
rid of your paint a little more
environmentally friendly and not just dump
it down the sink, which is illegal in most
places to begin with. Another thing that
you could do is catch all your wet
paint in a bucket, put a lid on it,
and then take it to your local recycling
center for hazardous waste. You can't just take it
to any recycling center, you want hazardous waste center. But there are usually
places in your city or you can go and recycle those at the hazardous waste center. Three different ways there
that you could maybe recycle and not just pour
paint down your drain that I could think of. You want to check with
your local ordinances and see what they recommend
if you have paint, but you don't want to just
dump them down your sink. I'll see you back in class.
7. Acrylic pour Fire Safety: [MUSIC] In this video, I want to talk a little
bit about torch safety. You basically need to be
using some type of torch with the pouring mediums so that you get the
cells to come out and any bubbles to pop. I have tried to do
that with a heat gun, it just does not work. It really draws the very top
coat of the acrylic paint and makes almost like a skin. It doesn't let any of
the bubbles come up and then you can't really
manipulate it any further after you've heat it
with that heat gun. I don't recommend a heat
gun on acrylic pours. You do need some type of torch. If you're afraid of fire, then I do recommend the tiny art torch that you fill up with the
little bit of butane, because it has a
really nice safety. You have to actually
pull the button down before you can start a flame. Then when you pick
your finger up off of these buttons,
that flame stops. It's a really nice
safety art type torch. Then they just take
butane lighter fluid that you just fill
it up a little bit and you're ready to go, so it's not like it's a whole
lot of gas in there either. That is definitely one
of the safest ways to work with flame
on your pours, especially if you're
not really familiar with working with torches. I always have a fire
extinguisher by my desk here, my art table in my art room. I do recommend you keep
a fire extinguisher somewhere near the area that you're going to be
working with a torch. Luckily, I've never,
ever had to use it and I do a lot of things
that require fire. Like I work with the resin
and I work with this and I do the encaustic wax. I do a lot of mediums
that require torch work and I always have my
fire extinguisher nearby because I'm in a
bedroom in my house that I've turned into
my office and art room. This room has carpet, so I don't want to
drop something, catch the whole house on fire, so I have a fire
extinguisher at the ready. The other torch that I use I got from the hardware store, and it is a
self-igniting top here. It's a propane tank
attached to it. If you do a lot of torch work, propane gas is cheaper
than butane gas. It's so convenient because I've been using this tank
of gas for a long time, so the gas goes a long way. What I like about this
is it's self-igniting, so you don't have
a separate piece that you're trying to
ignite your flame with. It's very easy to use. You just turn this knob until you hear
[NOISE] that noise. When you hear that noise, you're ready to heat your flame and then turn the gas back down to the level of flame you're
actually wanting to use. It's usually where the little
blue part of that flame is about a quarter
to a half inch and then you've got
further flame coming out. Then when you're using
this on your pieces, you're going very fast
around the piece. You don't want to let it sit on one particular spot
for any length of time. You'll notice I'm usually
doing this right here when I'm doing it because I
don't want it to sit still. Your paint will torch. It'll actually scorch
a spot on your paint if you leave it in
that spot too long. You could conceivably
catch your canvas and your paint on fire if you really left it
long enough in one spot. But if you go around there fast, and then when you're done
you turn your torch off, it's actually relatively safe using fire with this medium. I hope that gets you a tiny bit more comfortable
working with fire. If you've got the propane and you're going
to do big pieces, do the bigger
self-igniting head, you can get these at
any hardware store and you can get the
little propane tanks at the hardware store. If you're a little more
hesitant with gas, then you want to get
the little art torch, or if you're looking on Amazon, these are kitchen torches and you usually see people
use these with creme brulee. Some of these have the
butane gas attached to it, which I really like because it is a hassle to keep filling your
little torch up. But this is the very
safest way to use a torch if this is your
first try with fire. [LAUGHTER] I hope that gives you a little bit of an idea of
being safe with your torches, and to have a fire
extinguisher handy for your fire safety. I will see you back in class.
8. Red & Blue Dirty pour: [MUSIC] Let's look for a
moment mixing our colors. I've started off with white, and then I've just
started pouring the orange and the blue
and the bronze into here. I'm trying to make sure all my air bubbles are out of here before I start pouring because remember
those will show up. Now I'm just going to
layer some of these colors right on top of each
other in the white cup. I'm not stirring
these up in the cup. I'm simply going to pour all of these colors right into my cup, right on top of each other, any thickness or quantity or
design that you want there, until I'm completely
out of paint. I'm just going to keep
on layering those in. This is the Elmer's glue mixture that I've got that
we're pouring in here. Then I'm using my little craft
stick to scrape the edges. I don't want to waste any
paint if I can help it. [NOISE] Then once you've
got all your paints in the one color, now you don't want to stir that. If you do maybe one
turn around the cup. But after that, don't stir it and you're
going to let that sit for a moment while you
get your canvas ready. The very first pour here
that I'm going to do, I've just got the paint
mixture that we just created. The first pour I'm going to
do is call a dirty pour. I'm simply going to take my cup, I'm going to flip my canvas
over right on the cup, flip the entire thing over, and then let the paint settle
out of the cup for a bit. Then I'm going to
pick the cup up. Then I'm going to rotate
the canvas all around so that we get all the
paint to the very corners, and then that's a dirty pour. Then we may take our torch and see if when I added
the silicone gel too, which I believe might
have been the orange, if we can get that to
sell up a little bit more than whatever
happens to be doing. Then we're going to let that dry overnight and
see what we get. We've let that sit there and
we're just going to pick the cup straight up and
let it do its thing. This is the first dirty
pour method. Look at that. I'll go ahead and let
the paint drip on it too because that's going
to add to our pattern there. Now, if you apply a little
heat at this point, you'll get bigger cells. If you apply heat at the end, [NOISE] you'll get
smaller cells. I'm actually using my bigger
torch for the moment, but look at these little
cells that pop up. We'll just see what we can
get with a few of those, and then we'll go ahead and
start rolling our paint around until we get it all
over all to the very edges. The pattern you start
with definitely not going to be the
pattern you end up with. It's even possible that
the pattern you get tomorrow is different than the
pattern that we see today. Now if you want
to prevent all of the paint from falling off the edges as we're
getting to the edges, you can put your hand
and stop some of it. That'll keep the paint back on the canvas as you
continue to rotate around. It is really messy so
just do the best you can. But I don't necessarily
always want it all to come off the end, so I just stop some
of it with my hand. This is fun because this is the same color palette that I've already been using
a couple of times, but I introduced
a pink this time, which came out really cool. I'm just doing the best we
can to get all the corners. Because I'm working
on a flat panel, there's going to
be the possibility of my fingerprints at the end, so I just try to
be really careful. Now once you've got all
the paint on there, then now it's time to really
look at that composition and see if we make it go one way or a little
bit the other way, how do we like the color? I'll go ahead real
quick and take the dirty gloves off because
now they're full of paint. I might try to torch it
one more time [NOISE] to see if I can get any little air bubbles to
give me any little cells. This too, it'll bring up some
colors that you might not have been expecting to show up. That mixture was with
the Elmer's glue. You don't want to
hold your torch in any particular spot
for very long. You're just trying
to warm the paint back up so that cells come up in whichever color that
you put that silicon in. But if you leave it too long
you'll scorch your paint, and then it's obvious. That's really fun right there. The torch is really good too for popping random air bubbles. Now that we have poured
our mix on here and we have done our little bit of torching that we
planned on doing, you have a little
bit of working time, but really not that much. It is acrylic paint after all, it does dry pretty fast. Once you get that initial layout and you get your bubbles popped, that's pretty much ready to
sit there overnight and dry. Now, we're going to let
that one dry overnight. I really particularly love what it's doing right over here. If you ever pour
one and you think I absolutely hate this,
don't throw it out. Just let it dry for a
couple of days and then use it as your base for
another pore on top of it. You don't have to
just throw everything out immediately if you
just don't love it. You can pour on top of it. In our cup, this looks
like a little bit like a peacock almost in there. Look how pretty those
colors are in the cup. We're going to let this one dry overnight and I'll be back. One more thing I
want to mention. I have this sitting
on a dish plate rack, sitting right on top of
a piece of wax paper. Let me show you this
setup real quick with the one that I haven't used. [NOISE] This is what I've
got that sitting on. It's sitting on a
plate rack [NOISE] that is sitting right on top of a piece of wax paper on top of my tray
so I can move it around. But the reason why I like
putting it on the wax paper is because once your paint dries, these are now the skins
that we're going to get off and use for
different things. I do like having
the acrylic skin. I do coat that with
wax paper because all the drop-off is how we
get these pretty skins. Now this piece has mostly
dried really nicely. It's got some really
pretty shine to it. There's no significant divots or anything they have
formed in the piece, and it's really beautiful, so I do love how
this one turned out. The only drawback to using these panels is that it's
not completely flat anymore. It's slightly curved. On this one it's not a big deal. On one of the others that
we're going to look at, it's a huge deal. If you're going to
practice on panel or you're going to practice
on paper because I actually practiced on
thick watercolor paper, it's not flat flat. It's actually got it curved. Because this acrylic stuff
is plastic I don't know that that's ever really going to flatten back out the
way I would like. I would caution you
going in right here from the beginning that
if you're not using wood board or canvases, and in canvas that being a better quality canvas because cheap quality canvases are going to dip in the
middle for you, then just know that
your piece might curl slightly and it may
flatten out, and it may not. That being said though,
this piece turned out beautifully and I am just super excited at how
beautiful that one is.
9. Stripe Drag pour : [MUSIC] In this video
we're going to take a look at the
dragging technique, and I want to remind you to, don't forget to do your little art
journal colors so that you remember
what I've done here. So I'm just going with
really some unusual colors. I don't know how this
is going to turn out, but I'm thinking of my color
wheel and I'm thinking, what is opposite of, say, pink and purple on
the color wheel, and I do like to refer
to this quite a bit, and if we're in this
red-violet range, which is what this
color here is. We're over here in
this green-yellow, which looks just like the
green gold color of paint. Opposites are always
a fun choice and then I've got just a lighter color of pink and some white
that I've mixed up, and we're going to do this
one completely different than, say, that we
did the dirty pour, and this is using the Flood. These all have quite
a bit of Flood, and 20-30 percent of paint because I was using
the better quality paint. So if you're going to use
the cheaper quality paint, just experiment with
your color opacity on your stick as you're
doing it, and basically, what I'm going to do is poor ribbons of
color all down this. Then I'm going to pour
white on one end, and I'm going to drag the
white through everything else, [NOISE] and again, just make sure everything's
mixed and then tap to get any air bubbles out, and now completely
different look than we had, and because I'm using the flood, these should all make
little cells themselves. So because I'm going to flood
it with the white color, I've started with
primed white canvas rather than the black one. But we could start
with the black and see how vivid these
colors end up, which now that I think about it, maybe that's what
you want to do. [NOISE] Because I've got such bright colors
there maybe I want them to really stand out
with that green gold. So now I'm just going to
start laying some color, and the other thing
I have is a piece of t-shirt that I got out of my
little paint bag or rags. Once I do a stripe of white, we're going to drag this
t-shirt through the white over all the colors
to get our pour. There's really no way to
predict exactly how these are going to turn out other
than just experimenting. That's the excitement
of these pieces for me. I just love to see
what can I get. Let's start with that and
we'll just start laying in some other colors this
green gold is bright. When you're blending
colors like this, you're going to be really
careful that you're not laying colors that create mud. If you stripe red with a green, it might turn into brown. So you want to be
careful that you're not laying colors next to each other that might create some muddy color
that you don't like. I'm just going to keep on
laying some stripes in here until I use all
the paint in my cups. I don't want to really leave any extra paint leftover
if I don't have to. Now I'm going to lay a
whole bunch of white down here and drag
everything down, and if I have a couple of spots that aren't covering the canvas, we'll get this with the drag, and so I'm just going to do a real heavy layer of
the white up here. Then we're going to
take our t-shirt. We're going to drag
and you got to practice on the amount of drag there because
it's real light. You can see I'm
not even pressing down on the t-shirt
there as I dragged, I was holding it from the top, and then look at that. That's beautiful. What we can do here
is torch it a little and see if we can get some more speckles
to show up up here. [NOISE] I'm just going
to start my torch, and we'll see if we
can get anything else to come out. We may not. It may just be a drag of just like that because that's actually really beautiful. I don't think we're going to
get any more to come out. Just making sure I got any
little air bubbles popped. That is so pretty though, [NOISE] and there is our drag. Now look how easy that was
and this right down here, so pretty, and I just love, can you imagine this
standing up with this being the top
to the bottom? How pretty that is just
as a piece of art there. I love that. Then if you want and you have any spaces at the top where the black is showing
through the white here. I can come back up here
with a little bit of white and let that
level out on there, and that'll clear up
any edges at the top. If there's any black showing
through because we used, remember the black canvas, because I wanted the colors
to be super vivid down here. Look how beautiful that is. This is so pretty. Let this one dry overnight
and I will be back. Now this piece is
exactly what I was talking about on one
of our other pieces. If you're going
to use the board, you may have your piece curl to the point that it actually distorts and changes
your artwork. This one has curled pretty significantly enough so that I'm actually really sad because all the paint has now
shifted towards the center. I don't even think if it
flattens back out that that is going to work
for me in the end. I'm going to do another
one of these pools, but we're going to go for a nicer quality canvas or
a wood board from now on. Because as you can see, if you do that on
a canvas panel, there's enough paint on
this that it actually warp the panel and I just
wouldn't recommend it. The reason why I'm even showing you that is so
that you'll just know right up front how that works rather than
discover it after you've purchased a bunch of
panels and you're really disappointed in the
way that it turned out. So I'm trying to let you see different mistakes here
on in the class so that you can then make a good informed decision on the route that
you want to go. Canvas panel, even
though they're cheap and they're
readily available, and you could do a lot of them. If you've got enough
paint that you're pouring on like we did for this piece. It is probably going
to warp such that it actually changes
your entire artwork and may not flatten back out. Good lesson to learn here in class before you do
this on your own. So that if you make this choice, you're making it with full information at
your fingertips. I'll see you back in class.
10. Straight pour in greens: [MUSIC] In this video, we're going to do a different
type of dirty pour. I think it's
important for you to experiment on
different surfaces. On this video, I'm using a nicer quality
artist's canvas piece. Hang on, let me take the
gloves back off, I forgot. Before we start pouring paint, we want to go ahead
[NOISE] and tape the backoff so that we
could maybe peel the drips. I'm using my FrogTape, and I'm going to trim it
here in just a second, but let's go ahead and
cover all four edges. Then I'm just going to take
a pair of scissors and trim those up
because I discovered trying to tear the tape wasn't as easy as just trimming the tape once I got it on here. I'm just going to
trim our edge here. You could do this with exactly with a knife too if you want to. I've got a couple of
those over here also. If we just wanted
to take our knife and trim our edge here, we could very easily do that. It's actually easier. Then you just want
to go through and flatten all those edges without spilling all your
paint preferably. [LAUGHTER] We just want to go through flatten
all these edges down nice and then when we're done painting it and
it's done drying, we can come back and
peel that tape off the back and hopefully
get rid of all our drips. I've actually got
this sitting on cups. When you got it sitting on cups, you don't want to have the
cup overhanging in any way, you want that cup
all the way in. If you've got a bigger canvas, you don't want the
cup on the canvas, you want the cup resting on
one of these wood straights. Be careful in how you get that set because we want all the paint to drip
all the way off. Then because I keep wanting to hone this in for
you really good, I have my art journal ready, and we're just going
to tap on here the different
colors that we have used in this piece
in case we love it. Then I got a little
bit of white. I'm using cobalt turquoise and this is the Vallejo
brand, and Green Gold. It doesn't matter the brand
if you get a similar color, and then I've got
that dark deep blue, so I've got a turquoise,
and a darker turquoise, and then I've got
titanium white. Those are all fluid acrylics
that I'm using this time. I've mixed it in with
the Floetrol because I like the way the Floetrol looks, and so I've got all these
mixed in with the Floetrol. What you could do also is you don't always have
to pour it into white. Normally, you stack
your colors based on what is the most dense color, and white is the most dense, and black is the least dense. But that doesn't mean
that you have to always layer white in first. We can do white last, and then the white will
drag through the colors. Let's just start laying
some of these colors in. I'm going to lay them
all in the blue. The color that you have that's basically on the bottom
is going to look different when we
were using a color versus when we were laying
white on the bottom. It's going to be fun to see
what that difference does. I'm just going to layer
all the paint in there, and then use your scraper
to get off some extra paint because that's a lot of
paint that's left on the side of the cup
when we do that. [NOISE] I'm trying to be more adventurous
with my colors. That's why you see me using
some experimental colorways basically, because I want to be more adventurous
with the colors I pick. That being said, though, if
you want a pretty piece, it's better if you use
some pretty colors, rather than pick
all the ugly colors and expect a pretty
piece to turn out. [LAUGHTER] You might think
that these colors are ugly, but I actually like
blues and greens, so I don't mind blue and green. I'm actually going to
take the canvas and then we're going to do a
different type of pour here. I've layered all these in. You can throw the cup over
if you want, like flip. You can just take the
cup and flip it over. That's almost harder than just putting the canvas
there and flipping over. But I'm going to
actually pour this. There are several different
ways you can pour, you can just pour in the center
and let it do its thing, you can pour and then start
doing rings around it. Let's just start this pour, and we're going to let
this paint do its thing. Look how fun those
colors are there. This is just going to
be a straight pour, just to see what the colors do. Look at that. You'll really see
that because I did not leave the white
on the bottom, we're actually getting very
little white here in our mix. Let's go ahead and
help that out. Look at this. Now, we're starting to
see some pattern emerge. Look how pretty that is. I'm trying to get that
last corner there. Look at that. Isn't that pretty? I love what that did. A completely different look than what we just did with
the tip of the cup. Then I'm going to take
the torch and see if I can just coax a
few more bubbles, and then I will go and
make sure all my sides have stuff on the sides. [NOISE] Let's just see
if we can coax a few more of these color craters. This one is pretty cool though. [NOISE] There is
one little splotch right there that I don't love, and so we could take a
little bit of paint and dip down in there and maybe torch that and see
if we like that better. [NOISE] I'm just going to torch it
really to make it spread out more even and make sure that we can get
another crater out of it. Now, I'm just going to
go through with some of this paint on the side here, and make sure we've
got all our sides covered while we're all
still wet and dripping. I like that. This one turned out
pretty darn fun. Here, I've missed the
edge a little bit, so just take this paint and make sure I've got that corner on top also. Then this one, I
missed the edge too, so I'm just going
to tip it there. Then I'm going to turn this a little bit and make sure I've got that other edge there. [NOISE] This one is
pretty darn cool. It reminds me of
maybe the ocean. This side is so pretty with what dripped
off the side there. I love that. I'll make sure I get the
whole side covered here. That's a fun technique
to just let it spill on there and see what you end up with versus doing
that tip that we did. We got a completely
different look with this tipping the paint onto there than we got
with the other one. Look how pretty that
is. I'm loving this. Then as it's tripping, I just
run through and make sure that I'm not sitting
funny on the cups. I want to be clear
of all the cups, and I'll make sure to
maybe clean off a few of the drips so we don't have copious amounts of
paint on the bottom. There we go. How
do you love that? That was super fun. I hope you give the little
tip and just let it pour on there ago because
that was super fun. We're going to let this
dry and we'll come back and see what that
looks like later. This one is on canvas, and the very top of
it is mostly dry. This dried overnight, and unlike the cradle boards, this is probably 99 percent dry and I just want to maybe let that sit another
day or two before I actually touch the
top with any force. This turned out
really beautiful. I love the way the
sides are finished. The whole thing has turned
out really beautiful. This one is one that we
did with the Floetrol, so the amount of bubbles and details that we have
are really gorgeous. This might be one of
my favorite pieces and definitely a technique
that I'm going to do again and just maybe with some different colors and
just see what can I get, because I might like that in my blue and
oranges that I love, it's really pretty in the
green and teal that we used. Teal and brown might be pretty. There's a lot we
can do with this, and it really turned
out beautiful. Now, we're almost finished
and dried with this. I'm going to set
it to the side for another day or two and let
that continue drying before I even consider putting a
finishing coat on this. I'll see you back in class.
11. Large pull over white blue orange piece: On this one, I've got a
9 by 12 canvas sitting up here that I've already
primed with the black gesso, so we can see the black there. I'm going to do this with the Elmer's glue and water
and cheap craft paints because I haven't done
a chief craft paints here in our mixtures yet. This cheap craft paint is a little bit thick and the
glue is a little bit thick. You can really see as
I'm stirring this in, it's thick and gloppy. To thin that out we have to
take a little bit of water, but you just want to add a
little tiny bit of water at a time because it thins out very quickly quicker than you expect
it if you're not careful. A little bit of water at a time. It's a icky-looking mixture
compared to my fluid paints, but I just want to see quality-wise can we get
something just as pretty? I'm going with the cheaper paint and you can see now it's starting to really
mix up nicely. It's starting to flow right
off of my stick there. That might be just a
touch thick and I'm just going to add
just a tad more water and really get that flowing. That feels good right there
and just to make sure that, that mixture flows right
off our stick into our cup. That being said, it does take a little more paint with
the cheap paints because these aren't nearly as
pigmented as the fluid paints. I got the glue, I've got a tiny bit
of water in there which judging from the orange I'm going to need
a tiny bit more, but that orange paint was
thicker than this blue paint. One of these is Martha
Stewart and this is Mace; M-A-C-E, so it's an orange, and then this is the Americana
desert turquoise color. I'm going to do a blue and
orange ribbon painting and drag our white over it like
we did in the other video. But in the other video
using the paper. The paper curled and
our piece was in the end ruined because of the material that
we chose to use. I want to do one on canvas, a nice canvas to show you what the difference would be
on how your piece turns out. If you're doing something big enough with enough
heavy paint on it, a canvas is simply not
going to work for us. This is our light blue, this is blue sky by Martha Stewart. If you're doing a piece
that's probably bigger than say this 9 by 12 and really
this is even questionable, I am again doing a little
experiment here but this is a nicer artist-grade canvas. It's not the cheap canvas. You need to go ahead and
move up to a cradle board because it doesn't really matter how good of
quality the canvas is. This paint is just going to be heavy enough to make
a dip in the center, and then all the paint
will go to the center. All the paint may go to the center on this,
so we'll just see. We're just experimenting here. I'd rather do all the
experimenting for you and tell you what just
doesn't work at all. This is a larger canvas, it was a 9 by 12. Look how pretty that is. I really feel like 9 by
12 is about the maximum. Then, I've got a metallic here, I'm just using the
Martha Stewart sterling. Because why not? I love that silver, yummy. I'm putting 30 or 40 percent of paint to the amount of glue. Everybody has their
own little mixtures, their own little recipes, their own way to tell
you how to do stuff. You're definitely
going to want to give a lots of the ways to try, but until you start experimenting
you're not going to know what it is that
you're going to love the best for your own art. You're just going to have to experiment with what makes
a good mixture for you. I did about 30 or 40 percent of paint here. That's
a lot of paint. When I pull it out on my stick, I can't see the stick
through the paint and that's basically what I'm trying to do. This mixture has tons
of air bubbles in it and you really want to work all air bubbles to the top. Then I also have cheap white Martha Stewart,
wedding cake white. I think white is going
to be our drag color. These are craft paints that
I've had for a long time, these were not brand new. I pull them right out of my little paint cabinet where I keep all these
extra colors at. These are not fresh,
they're not new, they're not as smooth as maybe a fresh can of paint
might be if you just bought these at the art store
like I did a lot of those fluid acrylics
because really I treat every little class as an opportunity to go to
the art store and buy more art supplies because I just know I need them. Not like the basket full of stuff I have over
here is enough. But for the craft paints, these are paints
that I already had. They're not new, I did not buy any
of these this year and they're still I
think going to do okay, but they do have tons and
tons of air bubbles in here. Tap the air bubbles to the top, pull them to the side, and
pop them with your stick. That's what my little
go-to method is there. Because we're using the
glue and not the Floetrol, we want to put some silicone
gel in here because I want these colors to sale
for us, make pretty sales. Then we're going to drag
the white on top of it like we did on the
one that was using the canvas board but that was really good proof
that canvas board just probably isn't the best idea because it curls with
this much paint on it. You want to wait out the air
bubbles and if it's taking a while put up some plastic
on the top of your thing; on the top of your
cup and come back in a couple of hours when all these little air
bubbles have surfaced, because those show up in
your painting you don't want the air bubbles staying
in your colors. Then, I'm going to just use
a piece of t-shirt like I did on the first one and drag
our white onto the color. I've got a piece of t-shirt
here and I'm just going to trim it down to about
the size of our piece. You can do this with
wet paper and with a paper towel that's maybe damp. I've seen people do
this with a squeegee. You're going to
have to practice on this little drag technique too because how much is
too much pressure, how much has just enough, what's going to give you
the exact look you want? This is a lot of
experimenting on your part for some
of these techniques. There's a piece of t-shirt. I'm going to trim it down to
about the size we're using, and then this is what
I'm going to take and drag the white over. That one, really straight. That's all right,
we'll make it work. It turns the air bubbles, but you're going to let
all your air bubbles dry out before you do this. I'm going to go ahead
and start laying colors in here even though I have a few air bubbles so that I can get it all filmed and
let it be drying for us. What I'm going to do is white, I'm saving for the end. I do have about an inch and a half of paint in these cups and that could be too much and I'm going to pull these over
here hopefully not dump them down and pull our canvas back
where we can see it. You see that black paint, it's mostly dry. I
think we're good. The problem is if you
don't go ahead and prime the surface whether
it be white or black, sometimes the paint repels
off that surface which is frustrating when you get
the whole thing laid out and think that's beautiful, but at the same time, I forgot
to add the silicone oil. Let's go and do that real quick. At the same time if you have all those spots repel
a little bit of paint, you're going to hate life. After you've poured it
and you love it and then you have these
craters appear. I'm just going to do a couple of drops into each of these
two or three drops, not a whole bunch. Three drops. There we go. Again stir some more. Let our air bubbles
out, so let's pretend. Now I've let this sit
for a while and we have all our air bubbles out. I'm using two colors of blue of a medium color and a dark. I've got a orange. I've got a silver. Now, I'm just going to
start laying ribbons of color on here like we did
on that original piece. This is definitely a case
where it's good to have a tiny bit too much paint and I know wasted paint really
goes against the grain. But if you end up with
not enough paint on a bigger canvas like this,
that's going to suck too. That's a hard lesson to learn is how not to
have too little paint. That's almost all the orange. Let me go ahead and
dig some of that out. It's great. My sizes there. If you don't get
it at 100 percent, that's not a big
deal because we're dragging other
paint on top of it, so we're going to
spread that out. You can definitely see I've got a few air bubbles on here, so we may be hating
that tomorrow, but we're still going to just
give it a go for today and we can pop some of those
with our heat gun. Then I'm just going to pour
white here on the very top. We want that spillover and get that on there
nice and heavy. We could do a little bit of
white down here and just see. Now, we're ready to
drag this puppy. Simply going to take
my rag and very gently pull it across
until we get to the end. Then don't pull it back over to the painting like I just did. But that's pretty
cool right there. We can actually take a
second piece if we needed to and we could perhaps very softly pull that one more
time if we needed to. That's pretty cool. Now, I'm going to
take my torch and see if I can torch out a few of these air bubbles and get
some of our cells to show up. That did exactly as I hoped. It popped all the air bubbles, so that was pretty cool. But everywhere an air
bubble popped you have a slight area
where it shows. One thing I don't
love is on this one how I pulled it
to the black here. Before this has a chance
to do a whole lot more, I might just go ahead and see
if I've got enough paint to just lip that top so it doesn't look so
stark under there. But remember we use
the black canvas so our colors are nice and vivid. There we go. But I don't necessarily
want it showing at the very top
having a black line. Look how cool that looks. I`m pretty excited about this. Now I'm just going
to go through and make sure all my
edges are covered. Then, we'll see what this
looks like tomorrow. Hopefully, the
canvas doesn't dip. Hopefully, I've got
a thick enough piece where the canvas does not dip and we end up with
a really pretty finish. We will see. I'm going to just
come over here with my palette knife
and see if I can get these edges completely coated because I don't want the black showing up
underneath the drip lines. I want to go ahead and
have the whole thing be pretty vivid colors. I'm just going to
go through and pull some paint on the sides and
really make that thicker. Then, I will let
this sit and dry for a bit and then we'll come back and see
what it looks like. Hopefully, it looks
just like this and it's still nice and pretty
and smooth and not warped like our paper one. Cross your fingers
and I'll be back. This one is now mostly dry. This one sat overnight. It is on canvas which seems to dry much faster
than a cradleboard. This larger size in the better quality canvas
has held up beautifully. This was the 9 by 12, pretty sure, 14. This was 11 by 14, my bad. Eleven by 14 with the very nice heavy-duty canvas held up absolutely beautiful. We don't have any
deep dark pools that came to the
middle or anything. The canvas I was using, if you happen to have
a Michaels near you, this is their quality three
professional level canvas. I actually got really lucky. They run sales on their
art supplies occasionally, and they ran their
canvases 70 percent off. This canvas might
normally be 15 or $20, and I paid five bucks for it. Keep a look out at your local art store at
what sales they're running, especially at back-to-school time and other
like Black Friday. Just see if you can
snag a bunch of canvases at a crazy
awesome deal, because you want the
higher-quality canvas, but you don't necessarily
want to spend 50 bucks a canvas honestly
if you don't have to. If you'll catch those on
sale at 70 percent off, you'll just spend a couple
of dollars per canvas. Eleven by 14, I think I misspoke earlier in the video and told
you it was a 9 by 12 but this has held
up really beautifully. I think I could actually
do a larger size than this and not have
any trouble at all. Definitely go for the
higher-quality canvas that has a very stiff front so that when you pour the paint on it, it's
not going to dip. Now, this pattern is really surprising and not
at all what I expected because we pulled the
paint over it and I expected there to be
some pool left in it, but it looks like the glue
medium that we used to mix all these paints in may have retracted some of those colors back and that's why we don't see that long drag that
you sometimes see. Definitely experiment with
different pool mediums and different surfaces
with this technique, because I guarantee you
everyone will be different. Some of them will be
quite surprising. Even though that's
not the look I expected this is a cool look in canvas and I'm still super pleased with the
way it turned out. I'll see you back in class.
12. Swirl and tip pour: [MUSIC] On this one, we're going to do
a little different pour and I'm going to actually swirl my pour around as I'm
pouring out of the cup. Another dirty pour, but we're going
to do it a little differently in the way that we pour our mixture to our canvas. This time, I think it's fun to experiment with
the different mediums. Once you've been doing this for a while and you really
are comfortable with one of the less expensive ways using the glue or the floetrol, I think it's fun
to experiment and see how do they compare to the liquid texts pouring
medium or whichever brand pouring medium that you go with because there's a couple
of brands out there. I've just poured about a half
an inch of liquid here into my containers and then I've got my GAC 800 because we're
using the nicer flow medium. I want to make sure that
we don't have the crazing. What I like about the floetrol
is there's no crazing, it flows out nicely because it's a paint extender that you get at the paint department
of a hardware store. We're adding that
floor crazing additive in when we're adding this
GAC 800 to our mixture. Let's go ahead and put
some gloves on and let's experiment with a
different colorway again. I've got the white and we can do black but I'm going to do white. I'm just going to squeeze in
about 20 percent of paint. I've got blue light, I've got brown because I always thought
blue and brown was pretty and I'm just
squeezing some paint in, and then I've got a
color called pewter. Let me make sure I got
that top off of there. It's a little bit
thicker, it looks like, but it's almost metallicy. Oh, that's why it's up there
in the top of my lid there. [NOISE] We'll go with something
other than pewter because the top of it is stuck
in the top of that. Looks like I may possibly have
another pewter over here. Well, I guess I liked it so
much, I had two of them. [LAUGHTER] Let's take
the top off of there. Apparently, I wanted it
two different times and both times I thought
I need pewter. [LAUGHTER] We would just get some of that
paint down in there, and because we're using
the nicer silicone stuff, both of these are
the same thing; the silicone oil cell medium
and the silicone oil, and then of course,
the silicone oil from the hardware store is
again exact same thing. You just want to be very careful squeezing
this out and you only want a drop or
two in your mixture. Then we're going
to stir it all up, pour it all in one cup again. You noticed on one
of those pieces, if we have white at the bottom, there was a lot of white
on our finished piece, and if we had white
mixed into our mixture, there was not a lot of
white left in our piece, so whichever color you're putting down there
on the bottom, that might be your
more dominant color. There's really no way at all to guarantee the result
you're going to get, there's only educated guesses as to if we layer it
in whichever way, how might these colors react, but in reality, there's no way to tell
what you're going to get. You're just making
educated guesses and the experimentation is part of the excitement for me on this. Because we have mixed so many things into this
mixture with the GAC 800 and the pouring medium and the paint and the silicone, that's a lot of stuff
going in this cup and, so there are
definitely going to be some chemical reactions going on and a lot of
bubbles being created. This is a case where
you definitely want to tap those bubbles
up to the top, they're going to show
up in your piece if you don't get
rid of the bubbles, and you may just want to
let your paint sit for a while and let all those bubbles not
naturally dissipate. If you're going to do that, then put some plastic wrap over the top of
your cup and seal that paint in so that it does not dry out any way on you, have a little skin that
you've created on the top. I know I've said that
whatever color we put on the bottom may be the
most dominant color, but the way that we're
pouring this on, that could make that
a false statement. [LAUGHTER] We're just
going to have to see. Definitely got air
bubbles in the white. We're going to go ahead. I think I'll go ahead and
leave white on the bottom, maybe, and let's put
silver on the bottom. Let's just say here, let's just put silver
on the bottom. Let me pull this out of
here and I'm going to pour all these into
the silver cup. I made a whole bunch
of paint this time. If you make too much paint, you might consider not
using all the paint in your cup and we could do a second piece with
these leftover colors. I actually could have done that. I could've poured some of
this silver into this cup. Let that cup do its thing. I can go ahead and make
a whole second cup of color for a whole second
piece. Let's do this. I've got enough a
little canvases that I can put two canvases on my board here. I will just do a
little set here. Before I get
everything put away, I'm going to go ahead and dip these colors on here real quick. [NOISE] Because I haven't done this brown color away yet
and I don't have silver. That's all right.
We'll see here. Oh, yeah, I do right
here. There's those and we add white. I'll just list on
there that I had white [NOISE] and I'm going to go ahead and set
this to the side. We've got plenty of room
for two canvases there so we'll just do our best. Now on this one, I'm going to do something
completely different. I'm going to go ahead and just twirl this paint around on here, straight coming out of our cup. We're just going to start right here and we're going
to do a fun little, just twirl it around. We should end up with a completely different
look than we got on the other ones that we've done or just
rocking that around. Don't forget to prime your canvases with your black or your white gesso
and, yeah, these are white. The color isn't going
to be as vivid as it would have been if we
had come with the black. This is a fun experiment too. If you wanted to come back, and do one white
and one black if you have a lots of
extra paint like this and what I really like is we can control
where this paints go. I didn't even have to pick
the canvas up on this one. That was nice. Because I'm going to have to
really fix it on the sides, but look how cool that is. I'm just going to pour the
rest of that a little bit of paint in our other cup. Then let's try this
really hard dump it onto this one
from where we are. [NOISE] Looking at there. I got it down without
putting paint everywhere. While that one is coming down, I'm going to come over here
with my little popsicle, my little craft stick, and see if I can get the
sides to coat on this piece. Look how pretty that is. Really glad I split
that into two cups, but that does leave a lot
less coming over the sides. [LAUGHTER] Then I've had
on the other pieces. One of the hardest
things on this is using two little paint. When you're trying
not to waste paint, if you use too little paint, it's almost as bad as
using too much paint. You really do try to get a feel for what's the
right amount of paint, And a lot of that.
So that you're not doing too little
and too much. But it's just going to take you a couple of times
doing this before you decide what is too
little or what is too much. I've got that one. Sit for a bit. I don't think I'm going to apply any heat to it because those colors are so pretty doing just
what they're doing. I have got that one sit. I have let this one sit while I was working on those
sides and I just let all that paint really get
down to the bottom of this cup, which is exciting. I think when I picked this up, we're going to get a
completely different look than what we got over here. Then again, if you get
it to the very edge and you haven't got
enough paint on the tip, that's where we
can come back with our palette knife
or our stick there. I think I'm going
to come back with our palette knife this time and just pick up
some of that color. [NOISE] I've just got a
little palette knife here and I'm going to pick
up. Look at that. Very cool, the way the
colors did differently on this one. That's so pretty. I hate to do anything to it, but you see the colors
really match differently. But I think I'm going to touch that with the heat and
just see if we can pull. Look at that. My goodness. Pull out some little craters
and then I'll work on. Whoa, look at that.
Oh, my goodness. Those craters that
just came out. Super fun. I'm going
to cut that torch off. Look at that. Now,
I'm just going to come back and touch up anything that I
missed the tip here. Now, it's fun if you pick
up some paint color like this with the palette knife, you really get some of
that color staying mixed. Like swirled not mixed, sorry. You get some of the
same colors going. I'm just going to go ahead
and go around the edges and tip all the edges
here that I've got. Then we're going to let
these dry overnight. How fun was that to use the exact same set of colors and look how drastically
different they look. This is so pretty. This has got a little bit of
something white right here. So I'm just going to tap
some color into that spot so that we don't have a
great big white thing in the middle of our pretty
blue and brown paintings. This makes such a
pretty little pair. I'm going to set
these to the side to dry and then we'll be back later to see what we
got after it dries. But those are super exciting. Now, I have got to tell
you now that these have been sitting for a day
and this is the canvas, so we are probably
90 percent dry. Be real careful
testing that out. But this is much drier than they are on that crater board. You can tell our little
cell formation here using that Liquitex poor medium rather than the flow trawl is
completely different. The look that we got, because you'll remember on
that green one, we had way more cells and
there were a lot smaller. Here with the Liquitex, we can get much bigger cells
and it's really cool how the differences in the
medium that you're using to pour gives you such different
looks on your surfaces. So I would definitely
experiment with the flow trawl and the
glue and the Liquitex. If you have that in your budget or just start
off with the glue and the flow trawl if you want to stay pretty inexpensive
way to start with, because the looks that you get
from each of these mediums is really quite
dramatically different. I would say that the glue
and the Liquitex medium, or the closest, the floetrol being
its own little beast with the way that
those cells create. Look how different
this one turned out than what we really even expected from the way that we did the little
pit of pattern, had the little bubbles right here and they just spread on out to like the coolest
pattern ever. Then I love how this
is the same colors, completely different look
that we got on there. The sides of these are really
beautiful and finished. Definitely, I love the
way that these came out and we're going to let these sit for another day
or two just to make sure everything is dry before we consider adding any other
finishes on the top. Because there's a
couple of things that you could do to
finish these pieces, if you wanted to add an additional protective
layer on the top of this. But this is acrylic paint
and acrylic is basically plastic so if you want it to stop right there
and that'd be done, that's perfectly
appropriate too. I'm loving this color way and I love the patterns
that this created. I'm definitely going to
be doing some more spills where the whole cup is just tipped and go on because
the looks that you get, it's just so unpredictable. But super cool and what's really cool is if
you do a whole series of nine in the same color and hang them all together on a wall, like three by three by three. That is a huge dynamic impact, all in the same color way and
not one will be the same. I love them predictability
of this medium, which is why I like
playing in it so much because it's just so surprising what you end
up with when it's done. So I will see you back in class.
13. Air Blowing with hair dryer & straw: [MUSIC] All right, got a completely
different technique I'm going to show
you on this one. I'm actually going
to go ahead and coat my canvas in white and just get that
spread out and going. You'll see why here in a second. I'll get that started. Then we're going to
do a dirty pour. I've got three colors of pink, and orange, and a silver. I'm going to go
ahead and maybe pour these into my silver cup. We're going to play
here with a hairdryer. So I have a hairdryer
that we'll be using. This is a hairdryer that's got the attachment on the end
that lets you direct airflow. So if you've got a hairdryer
with that attachment on it, then that's what we're using. If you don't have a hairdryer
without attachment, then you need that attachment, you may be able to
get the attachment by itself, but I'm not sure. I have a hairdryer up
here in my art room and I have a different one in
my bathroom that I use. When I was buying it, I just got the cheapest
hairdryer I can find. I went ahead and just
leave it up here. I'm just pouring all
my colors in here. This may be too much paint
for what we're about to do. But it's still cool. If you use less paint, you can really make this look like a flower when you're done. So we've got all that. I
want to do a dirty pour, so I'm going to
flip this on here. I think I do have
too much paint. So what I might do is half
my paint into another cup. I may use that paint
on something else. So I'm just going to do a flip and hope I
get it where I want it. Oh, yeah, right there. We'll let that
paint do its thing. Then I'm going to actually put quite a bit of white out here. Then tip it. I'm letting that color go up under
the white there. Look at that. I'm actually going to
pull the white over that. Now we're going to take
our blow dryer [NOISE] and direct the flow
with the blow dryer. You can also do this with a straw if you want to then further
manipulate some of it. The other thing I was going to experiment within this class too was my little
tiny air compressor. What I like about it
is it does the blowing there without you having
to blow through a straw. It's just something
to experiment with. You may not like it
and you may love it, but it's fun there. I did actually like the
power of my blowing on it with some of that. This makes a mess. I
just totally made a mess on all the paint and
the table over here. But I do like the way that
that paint just did that. Getting a little
crazier as we go. We can also pick it up and
tip and we can get it to move around too if we want to work that paint a
little more and a little more on the
composition there. I didn't put my gloves
on, but that's okay. That's a pretty
composition right there. Oh, I love that. So I'm going to take my torch. Yeah, I like that, and just
see if I can bring out any additional cells here
before this is done. Yeah, it makes this white really get really lacey. That's really pretty. This is really nice
too if you like making weird
botanical abstracts. If you had a little less paint in blew it all in one direction, you might get that
to look more like an abstract rather
than what I did here, which I might actually do on another canvas because I
have extra paint leftover. So I might go ahead and do that. Then I'm also going to
put a glove on and just smooth the side so
that my color that's dripping actually makes
the right color on the side because I had planned on different
colors for this and I painted that
side blue rather than these yummy
pinks and whites. Now I wish I had painted it, left it white, or painted pink. So I'm going to go ahead
and cover that some. Then we will let this dry and see what we
end up with tomorrow. I love that actually,
really pretty colors. I like the way the
lacey patterns ended up here in the paint. So that one's really pretty. Then I'm going to
do another one. I will try to do like
an abstract botanical. So we'll see how that works out. I'll be back. So this
piece is on canvas. It is dry, whereas those
wood ones are not dry. So again, I would caution you though
about touching the top just in case you find the one spot on there
that's not dry. Definitely wait a day or two before you start touching it. This piece came out super cool. This one was with
the blow dryer also, but we got a completely
different look than we did on the
two smaller pieces. I am loving all of the fun
color and the directions that our paint went and
the details and the cells. This one is super fun and I'm
loving how that turned out. So I hope you enjoy this technique because
it really is so organic. You don't know what you're
going to get when you're done, but the finishes
are just amazing. So I hope you love that one and I will see you back in class.
14. Air Blowing with air compressor: [MUSIC] I'm actually doing a pour over on this
because this is another one that I thought randomly that it was dry
and it's on a cradle board, so of course it was not dry. Since I'm doing experiments here with the different paint, this is a set that I
made five of these and I have four that are
still really pretty. This one that [LAUGHTER] I stuck my hand in. This one gets poured on top of and we'll just
do another pattern, and since this is an experiment
one that we're doing, I'm going to go ahead
and just experiment. This is just white. I am just covering it with
the white so that we can do our little botanical piece on top of this so we'll have a whole bunch of
paint coming down and so we'll think how that
white completely mixes up. This is the flow trawl
mustard again just because that's what I've
got all my paints in. I'm actually wondering
if I still don't have too much paint there to
really just make a botanical. I'm going to again
half this quantity, [NOISE] and just see. We might be experimenting on several pieces here. [LAUGHTER] I'm simply going to take this
and dump it on this side, so I can blow the
paint that way. I'm really wanting less paint and I want to see if I can take that blow dryer and make more
of a botanical than we did. I could also take my straw
and maybe blow it all out. Let's just see. Putting
some gloves on, because I didn't have gloves on. I'm letting this
paint settle anyway. Then [NOISE] I'm going to put a bunch
of white over here. [NOISE] Might be on-tight the air compressor
since I don't have the hairdryer plugged in. [NOISE] I had the air
conditioner plugged in, let's just see what
we got. Look at that. [NOISE] It's looking really pretty. I think I'm going not to
keep going, I might ruin it. [NOISE] That's going
to be hard to know when to stop doing stuff there. I'm just going to
hit with the torch. [NOISE] That's really pretty. I might do two of
these because I did have another little
cup of paint there. I'm going to just get these
sides coated with the white rather than the
color that the side was. Look how pretty that is. [NOISE] I would call that a success on the little blow technique
by using less paint, spreading the white and then
blowing it out so that you get the air bubbles and everything in there
that pop real pretty, and that's really pretty. We're actually going to
leave this one to dry. Hopefully, tomorrow it
still looks like that because they keep
moving all night until that paint gets set on the top. But whoa, is that pretty? [NOISE] I might do a second
one of these, just because I have that much paint left, and
we'll see what we get. Again, this one has
dried overnight. Look how yummy that
one turned out. It is definitely a
very stylized flower, floral fauna image here. I love how this one looks
next to the other one, the ginkgo flower one
as a nice little pair. So beautiful. I just love all
these yummy details and the way that the
colors created the cells. This could be one of my most favorite pieces
and the sides are pretty. I do like the way it's very
organic there on the sides. If you have a piece
where you've got the sides that didn't do 100 percent what
you wanted with it, then you could always
paint over that, because the sides
are fairly flat. I could come back over that and paint it with a black or a gray, or one of these pinks, and then I could just completely change the side of the
artwork if I didn't love it. Your choice there, just know if you do this and
you don't love the sides, you can go ahead and
paint over that. That is smooth and
it will come out with a nice finish
if you paint it. But I'm thrilled how this one
came out. It is still wet. We're on a cradle board, so it takes a couple of days to dry. The sides are dry though. Thank goodness. [LAUGHTER] I'm going to not touch
this for a couple of days, and then this is another
one that I could consider definitely doing a
resin coating on top, because it is so beautiful, and the layers and the details, really pleased with that. I hope you give that
blow dryer or straw, or if you have a little
tiny compressor like I do, do the below method and see what really cool
shapes and patterns and stylized flowers you might get come up with
because it is super cool. I will see you back in class.
15. Air Blowing with hair dryer: [MUSIC] I figured since I
was doing it anyway, I'd go ahead and film it. This is the one where we
are doing the flower again. Let me just mostly coat that with white and
get it ready to start. I don't know if you're like
me, but I have canvases and cradleboards that are covered in ugly paintings that I did. I'm going to flip this
one right on there, covered in ugly paintings
I did that I don't love but I didn't want
to throw it away. This is the perfect thing to do when you've got canvases and leftover stuff that
you don't like what you did just
so on top of it, and then do something like this. I'm just going to spread
that right on top. Now I've got my blow
dryer this time. Let's see the difference. [NOISE] That looks like a ginkgo
flower a little bit. Before I completely
ruin the shape of that, I'm going to stop
and maybe torch it. [NOISE] See if we can get
any cells to pop up. [NOISE] Look how pretty that is. This might be a really
nice companion piece to the other one because
it's not the same shape. It is the same colors, and so now we can have a
little too for deal going of some cool space-age
flower-looking botanical pieces. I'm just spreading this around the sides so that my sides
are covered and then it will continue to drip and make a nice pattern on the sides. [NOISE] That's pretty. I'm really excited
I filmed that, [LAUGHTER] and I hope that that made you
really excited to try a blow method where
you put the color and blow it and just see
what you get because that's pretty darn
awesome right there too. Definitely mix up all your
colors and if you think that's a lot of paint for
what we're trying to do, half that paint and then
do it two pieces or something out of it like I just did because that's pretty cool, so pretty excited to let that dry and then show you
what we get tomorrow. Let's take a look at
our finished piece. This has been drying overnight. I know the top is not
dry since I did this one on a cradled panel, but the sides are really
yummy on this one. This is the one where I actually gessoed another piece of art to pour acrylic
on top of it. There's actually some marks in the paint that was in the under surface
underneath this layer, but it actually
doesn't bother me. So just keep in mind
if you do a pour over some other piece of art
that you no longer like, if you did a bunch of
mark-making and stuff, you're going to
see those marks in this finish because this is
not really like the resin. It doesn't stay puffed
up a little bit. It actually eventually
flattens all down into the grooves and
into whatever is there. You're going to see
whatever marks that you've got under the surface. But in this case, I actually also
see a tiny bit of color shining through
the undersurface, which I don't mind at all
because it doesn't look bad. In this case, I don't mind a bit that there was
art underneath it. It just adds to the overall
interest of the piece. Then I might could do the
resin pour on top of that. Then the top would be completely flat and
you would just see these different dimensions
and marks and levels in that underneath layer
really adding to the interest of this piece. Overall, this one held its shape overnight and still looks like that ginkgo leaf, and I love all of the details. I am extremely pleased with that one and can't
wait to hang it up. I'll see you back in class.
16. Blue & Pink Blow pour: [MUSIC] In this video I'm
going to try to make some more of those blow-dryer wildflowers. Just because I got a
few more boards to use up and I want to
make them anyway, so I might as well film it. [LAUGHTER] I've actually
made a giant cup of white, a cup of purple matter, which is a purply color, a cup of blue red light, which is this pretty
light pink color. I've also used this
orange medium, which is this orangey color, and I've mixed up
a tub of green, which is a Verde. I can't even say that word, but it's a Verde green
shade here in the Vallejo. I'm going to do some
experimenting here. I'm going to coat
the board in white. Let's go ahead and
get that started. I may have to mix up more
white if I do multiple boards, but let's just get this
started with the white. That'll help
everything else flow when we get these
other colors on here. Then I'm going to do
something experimental. That's a lot of white. I'm going to mix up the pink, the purple,
and the orange in a cup and [NOISE] I'm going to do
a little dirty pour on here, and then maybe pour
the green separately so it's almost like leaves.
When we blow dry it out. Completely experimental and
we'll just see how it works. I'm going to take
a cup over here and just layer in
some of these colors. I have not played
with these before, so we'll see what we get or I haven't played
with them together anyway. Maybe a tiny bit of white
in there. Look at that. Then I think I'm going to
put the green on last. I'm just going to
do a little flip and let the paint do its thing. I did use the silicone oil. This is the Liquitex pouring medium with the GAC 800
with a silicone oil. I've put silicone
oil in the pink, the purple, and the green. I did not put the silicone
oil in the orange, and I do have some in the white. I'm going to go
ahead and [NOISE] just tip it just like that. Let it do its thing
for a second. [NOISE] Go ahead and get my blow dryer ready. [NOISE] I'm going to
set these paints, where I'm hopefully not going
to knock them all over. [LAUGHTER] Let's go ahead
and pull this down a hair. Maybe set these where I
won't knock them over. I can already see. Look at that, some of that coming
out right there. Look how pretty that is. I'm going to help it
along here with the white and do a little
white over it. Look at that. We're going
to have to work fast here. I'm going slow and then hit
that with the blow dryer. [NOISE] I might actually play
with this with the straw because that's more paint than
I even intended, I think. [NOISE] That one's not going to give me a
flower, I don't think. We'll definitely be
trying this one again. [NOISE] We're going to call
that one a failure. It did not do what I
wanted it to do at all. We're going to definitely
do another piece using those same colors
and we'll just try again. The only reason why I'm
leaving this in here, so you can see my
failure is to know that not every piece works
out the way you want. We'll take a look at what this one looks like when it's dry. But that's not exactly
what I was going for. [LAUGHTER] This piece
didn't really turn out the way I wanted at all. This is the other
one that we were trying to make a flower out of. I didn't get a
flower and I didn't really get anything else. I would say that this is not
my favorite piece and I'm probably going to pour on top of that and do
something else with it. But it's always fun
to see the mistakes, the ones that you love, the ones that you don't love. Why don't you love it? What did you do that
didn't work out for you? I can leave all these videos
out and just not show you the ones that ended up not the way I wanted
them to end up. But then you might think that every piece of art
I create perfect, and I don't want
you to think that. I want you to know
that not every piece turns out the way you intended. This process is one
great big experiment. There's no way to
guarantee results of what you're going to get
every time you pour paint. I want you to know that happens for every
single one of us. [LAUGHTER] This, I was not
very happy with it at all versus the other one with the same colors
that I'm actually thrilled that I
didn't get a flower, that I got a flower garden. It just depends on the day, maybe the way you hold
your tongue when you're pouring the paint, I don't know. But sometimes you
get some great ones and sometimes you don't. You can just pour right
on top of it if you get a one that you just don't
love and try again. You don't have to throw
it away, it's not wasted. It's still a good surface
for you to pour on top of. I think this is going
to be a pour-over. [LAUGHTER] This one has turned out super-duper cool and it's been drying overnight, so it's not going to
be dry on the top. I'm going to go ahead and
not touch the top like I have [LAUGHTER] done on some
of my very favorite pieces, and it mistakenly thinking
the paint was dry. Even though this did not turn
out like a flower for me, this does have some very interesting
flower-like pieces in it, and this looks like a butterfly. I'm thrilled with the way this
dried overnight now and it looks quite a bit different
than I was even expecting it to look yesterday when
I left it to sit. It looks like maybe we're in a flower garden and
there's some butterflies. I may call this one butterfly because it just really
turned out so very pretty. I'm real happy with the
way that turned out, even though it did not make the yummy flower spray
that I was intending. Sometimes happy accidents give you a piece that you
weren't expecting. The way the colors blended
and the way a little bit of green comes out in
between all those pinks. Very pretty. I'm quite thrilled the way that
it's looking today. We could turn it around. [NOISE] Don't touch the top. [NOISE] We can decide which way really is
the best composition. I think I like it better
with the white at the bottom and it's all
coming down this way. But anyway, pretty thrilled. Even though that wasn't at
all what I was going for that's definitely a
pretty piece that I'm going to enjoy hanging up. I'll see you back
in class. [MUSIC]
17. Blue & Orange Blow pour: [MUSIC] I'm going to
do another little blow pour because I want two, [LAUGHTER] and I'm just going to pour a little of
each of these colors in my cup to see if I can get a little better control
there on the paint. Some orange. Then I'm going
to do white on my canvas. I'm going to use my little
tiny air compressor instead of the blow
dryer because I got it. You can do this with a straw too so if you've
got a big straw, you could do this with a straw. But I'm going to
go ahead and coat the canvas in the white. I'll get us started when
this starts flowing. [NOISE] I'm going to go ahead and dump that. I've got this
sitting on two cups, but I'm trying to be careful. Maybe put this on three cups. That'll keep us from
tipping over maybe. There we go. Then
I'm just going to go ahead and pour the
white around it. Look at that. [NOISE]
These crazy sputs. That's what I'm
trying to get there. Some crazy sputs in there too [NOISE] and then we'll see
what we get with a torch. [NOISE] I might just go ahead and work this and see what it does because that
did not look like a flower. [LAUGHTER] Let's just see what
else we get if we just run this paint around instead, we'll just see what we get. Well, that's crazy. We'll just see what
this looks like tomorrow when it's all dry. I did not get a
flower out of that, so we'll get something
else out of it. I'm loving all the orange
in this piece and this section right over here is so pretty and it's so abstract. I absolutely love this piece. Out of the three that I pour
that were failed flowers, two of them I absolutely love, and one of them I don't love, but it could be actually
a set of three. Like we can have that as a
set of three. As a coat. If we could have this
as a set of three in a collection and
hanging together, then I actually think I
would love all three pieces instead of pouring
over this one, like I mentioned in that video. Look how pretty all of
those are together. This may actually be a really
pretty pink, and orange, and green abstract collection that I end up
hanging on the wall rather than pouring
over any of them because together they're
all really pretty. Definitely do a set
of pieces like as a collection and see if
you like how they end up. If you don't like them,
you can pour over them. If you don't like one, you might still take a look at it with all three pieces and see if you love the way it looks
with all three pieces. I love how different
the pattern and everything on this turned
out than the other two. This right here is
just so pretty. I'm pretty thrilled
the way that ended up, even though I didn't
get a flower. [LAUGHTER] I will see
you back in class.
18. Strainer pour black & yellow: [MUSIC] In this video, I'm going to show you
another pour method, different than anything that
we've looked at already. This we're going to pour
through another object. In this case, I'm actually pouring through dish strainers. These are little
plastic pieces that go into your sink to strain
out food and stuff, and it comes with four different strainers here in this particular
fun little package. All shapes that we might
can experiment with. I really want to experiment with this one so I'm going
to go with that one. You can see how each of these would strain
those paints quite differently and give us completely different
looks to our canvas. So we're going to strain
paint through a strainer, and I've gone ahead
and written in my journal here the colors
that I've got out here. Then I also might use
a white or a black, which I've already
gotten mixed up in my a little bit
larger containers. This is the Floetrol mixture that I'm doing
today on this one, and it's about 75
percent Floetrol and about 25 percent paint. I'm using the fluid acrylics on this since that's
what I have out. I'm going with some
unusual colors. Again, just experimenting
with blue, orange. I've got some copper metallic, the green gold, just
for little giggles. [LAUGHTER] Then I might also do some white and black on this. Basically what we're going
to do is set this here. We're going to let the
paint string through it as I pick it up and
it will flow through. I think what I'm going to do
is do it as a dirty pour. So I'm going to start it off
in a cup and just squeeze my colors in and do some
layering here of color. [NOISE] I think I want
the green gold to be the least dominant in
this mixture so I just poured it in once and
I'm pouring everything else in filling up my cup. Then I might add another squeeze of black
and maybe squeeze of white, and I don't think
I'm going to do another row of the green gold. This canvas is already primed, and I have painted
the green gold on the sides just so that it
makes the finish smoother. I'm just going to set this down and start pouring
this right on in here. Oh my gosh, oh my gosh. Look how gorgeous that
is coming out of there. Then we'll pick that up. Let it finished streaming there. Then I'll set that to
the side. Look at that. I'm just going to put
my hands down there to keep some of
that paint back on the canvas as we're rolling it around to
catch all four corners. Look how pretty that is. Then we might just go ahead
with our torch and see if we can pull any other
air bubbles out of that and make any more cells, we'll just see what
we can do here. That's really
different and cool. I really particularly love
this whole corner right here. That is so pretty, but I do like the
overall composition that we've got going there
too. That's really pretty. I hope you experiment with little dish strainers
and try out the different shapes on
the different canvases because that was crazy
fun what that did. I'm really glad I went ahead and painted the sides
in that green gold because anywhere where we don't have paint drippage perfectly, we'll have that green and I like leaving it just
like that so now I don't feel like I have to
come back and touch up all the sides while it's wet. I feel like the sides have
blend right in really beautifully so that
one is super cool. I hope you try out
these fun strainers. I got these on Amazon, but you can get
strainers at any place that sells kitchen supplies too. You might even have one in your sink that you want
to give a test out. So this kitchen strainer
pour is super fun, and can't wait to
see what this looks like tomorrow when
it's more dry. Check out how this one dried. This one is very
out of this world. It just looks like
something from another world, it's so amazing. We get a little
different look depending on which way we
face this painting. I'm in love with the way this one turned
out and all the details. The colors are a little funky, which is what makes
this one interesting. I'm definitely
going to do more in this style and I'm going to change up
the colors probably. But I just love all
these yummy cells of color that lift up out of this. The black made that
interesting. Super cool. I love the way
that one came out. I hope you enjoyed
doing this technique, and I'll see you back in class.
19. Doing a pour no cells using strainers: [MUSIC] I'm going to do
something a little bit different in this video, I'm going to do a dirty pour, this is the Liquitex medium. I've mixed it with the Liquitex pouring medium and my GAC 800, but what I'm going to do
in this one is do a pour with no silicone oil added to it so that we
can see the difference of a piece that uses silicone
gel versus some that doesn't. I've just picked out
some fun colors here, I've got aqua and I've got warm gray and then I've got silver, which is a metallic
color and then I'm just using my white from
the basics here in the fourth cup and what I'm going to do
is mix all of these in the white cup and then
pour them through a different stringer
because the cuff on that strainer is and
do a stringer pour. We'll just see how different
this one is compared to ones that we've used
the silicone gel in. So I'm going to layer
in my colors here. That basics white, that acrylic, thicker white paint is a little thicker than
these more fluid paints, but it's not so thick that it's going to mess anything up. It is a tiny bit thicker and you can add water to thin
your solution down if you need to but it's
really not recommended because the water breaks down
acrylic pigment and stuff. So we almost got
all our paint out, let's get all our paint here. This is a lot of paint, so I do have another
canvas ready if I'm pouring paint on and
then I decide too much, I can immediately grab a second canvas if I need to because that's
a lot of paint. Really, while we're
filming this one, I might as well go ahead and get that second canvas because
that's a ton of paint. Here's what we can do here. I've got this one up on a cup. I have two more strainers
that I hadn't tried, so why not give these a go and do two cups since that's a lot
of paint that I just mixed. Let's just go ahead and
put another canvas on here and we'll do two and hopefully I don't get
stuff all over the place. We'll just try to
be careful here. I've let this sit
doing its thing. I'm going to go ahead and pour hopefully enough paint into
each of our things here. I may go ahead and do
like a little pour and then a little pour and come back because that white
is on the top here. Oh, yeah, look at that. I have a lot of paint
in there but really I think the white all
mixed in pretty good. Let's just see what we got here. We'll just go ahead
and pick this up and I'll go ahead
and pick this up. What's really good is if
you have a little tub of water that you could
just set these down in and so you're not
trying to rush to get these washed off, you can set them in a tub of water that would
work really good. This has no cell medium in it at all so it's going to
be very fun to see what we end up with and I'm still going to use
the torch on this a little bit because I want to
pop any air bubbles. I'm just getting it to the end. Well that was a lot
of paint for one, it was questionable as if it
was enough paint for two. [LAUGHTER] But it did go ahead and spread
out really pretty, so this is a pretty color. We're going to let that one do its thing and hopefully I don't knock it off our
little pedestal here. Look how pretty that is though. Then let's go ahead over to this one and I'm
going to hold my hand on this canvas a little better so we keep some of that paint. Well, we tried to keep
some of the paint on the canvas but I'm really not doing a good job of it, am I? Spilling off real bad
okay, there we go. Super cool there,
let's go ahead and touch all our sides here
to make sure we've got, I'm just dripping everywhere. Hang on, I'm going to get
dripping paint gloves off but look how cool those are. I'm going to go ahead
with my torch and just pop any air bubbles real quick and you can see because
we didn't use any of the cell making the
silicone oil or anything, you can see that we have no
cells popping up as I'm doing this like we normally would but those are pretty
cool looking. I'm pretty happy with the way
that turned out not using the oil and just getting a little test to see what
are we going to get. Now we're going to
let these pieces dry overnight and we
will come back and see the final result tomorrow but that's a really fun little
two-piece set there. I'm just making sure I got
all the sides mostly covered. We're going to let this
one dry overnight and see what we get and
then we can compare that with the ones where we put silicone oil or we use the flow trawl that
gave us the cells and you can see how our
pieces would look totally different with it and
without it, so I'll be back. I'm in love with this
set now that it's dry. The funky shapes and
patterns that we have here, I absolutely love what
the set of two has done. I love that this cascades down, I love that this has a completely different
pattern than this. We could do that right there, so really super fun
set with colors. Again, another set
where I didn't use any silicone oil so we
don't have any of the cells and it's just really fun to see what happens when we've got a little different
way we laid the paint down versus how we laid
it down on this one, how completely different
the two canvases end up. That's a fun set. I'm pretty happy with
the way that turned out. I'll see you back in class.
20. Puddle Pour yellow and purple: In this video, we're going to do a pour with different colors, but this is going to be
more of a clean pour, rather than dumping all the
colors in one container, we're going to put each
color onto our canvas in whatever order we
decide we want to do. I've already started listing the colors of my art journal, and when these dry, then I'll go back and write
the names next to them. But I'm going to experiment. Here I've got a gold metallic, I've got a amethyst
color in light purple. I've got yellow oxide, which is very pretty gold color. I've also got an Azul blue, which is very dark purply
blue color, and some silver. I've got to metallics in here. I was going for purple, yellow, is that scheme, so that's the family
I've stayed in if you look in your color wheel, and you're looking
at, say, your purples and your yellows down there, right across the wheel
from each other, so they hopefully will
contrast very pretty. On this one, I'm using
the flow trawl mediums. I've just mixed about
75 percent flow trawl to 25 percent paint. Because that one
actually bubbles, I don't have to add any
of the silicone in there. Then I'm using a canvas, and I've already primed
the canvas with my gesso. Then on this one, one of the colors
that was out of here this time it was the dark blue, I went ahead and
painted the sides so that hopefully when
we get the run over, it'll be a nice even
look on the side. Because on a couple
of the canvases, especially the ones
where I didn't prime to begin with when
I started out. I saw there were
spots on the sides where the paint repelled. I didn't really want the
paint to repel on the side. I'm going to experiment
here with painted side and see if that gives
me prettier side on some of these pieces
like I love to have. Now what we're going to do, I've actually made up a
big white and a big black and put these in
little squeeze bottles so that I have it and I
can use as much as I want, because sometimes with these, you want to be able to come
back and add more color, maybe more white and it may
be more than I have mixed up. If you'll put them in
these little bottles, the top closed, you
could work with this for weeks if you needed to. If you do a lot
of the same color and you want to be able to keep your paints fresh
for much longer than you can on little cups, this is the way to do that. Then you can have all your
colors mixed up really, you could just be
super prepared. I'm just going to start off
pouring colors on the canvas. There's no order to this. This is more of a clean pour. We're just going to
start laying these in and then we'll start
moving them around. If you want to experiment and do different
shapes in the colors as you're pouring them, you're certainly
welcome to do that. This is all about experimenting and just seeing what
is it we can get. You might come back and lay some color on
one side or another if you've got some color
left in your cups. You want to keep it
in mind composition when you're doing this, and I know I'm not
really doing anything. Well, it looks like
heavy composition, but you definitely want to
keep composition in mind when you're doing
something like this. Now I think what I'm going
to do is get my torch, maybe torch some bubbles
in it real quick. Turn the torch off. Then I'm going to start
switching this around and just seeing what can we get. This is going to be
completely different look than your dirty pours
because you can see we've got big swatches of
color on this particular one. When you're all done, you
may love it, you may not. It's very interesting. Actually, some of
these mesh together and almost made like
a green up here, so that's different. I'm just making sure I've got some all the way around before I pull my pink glove off. Now I got paint all in it. I might just see if I can
get any more bubbles. That's definitely different. Purple and yellow,
probably not my favorite, but that's pretty cool looking and that is more of a clean
pour rather than a dirty pour, which I want you to
experiment with. Because depending on the colors, that may have been
amazing if I had used my favorite colors of
the blue and the brown, maybe the silver or gold, then that probably
would have been one of my favorite pieces because I love the composition. I do love the bright colors. I love the pattern that created
over here in the corners. I do hope that we keep some
of that patterns that dries. But I'm going to set
this to the side now and let that dry overnight
and see what we end up with. I hope you experiment
with this technique because it is really fun
to pour the colors on and just see what you can get. I'll be back in a bit. I know I said earlier in the
video that purple and yellow might not have been my favorite, and it could be the rather dramatic strong
colors that I picked. But now that this
one's dried overnight, I am in love with this piece. I love the composition, I love how that we have a
little swath of color here that's like a focal point and
then it radiates around it. I love this corner up here. I have completely changed
my mind on this colorway and have decided that
it's pretty darn sweet. But I am going to do this
puddle technique again with some different
colors just to see what I can get with some colors that are more my color range. But overall, I am just
in love with the details and the composition, and the final piece of this. This has dried overnight, so it is dry, but I'm not going to touch
the top just in case there's something over
here that's not dry. But I'm telling you, I am absolutely loving
this piece the next day. If you pour a piece and then you think, oh,
I don't love it, let it dry anyway because when you revisit
that the next day you might change your mind and discover that you like it more than you thought you did when you see the
final dried piece. I hope you loved that technique. Can't wait to see your
versions of this technique. I will see you back in class.
21. Dirty pour and drag cup: [MUSIC] In this one, I've got that gold
that I mixed up in that mix-up the color video. I'm going to go ahead and
mix up some of the Liquitex. I got gold, and then I thought I might do a really strange mix of
colors, but why not? I've got a real pale
purple called amethyst, deep dark blue, and
orange medium because blue and orange are opposites on the color wheel and I'm just throwing that purple in because, and then we've got some
of this gold and I thought maybe we would have this with black instead
of white because the other ones I've
done with white. Let's just do the white. I've mixed in about
three-quarters of an inch of the Liquitex pouring medium. Then add it in
about 20 percent of our crazing liquids so that
we don't get deep craters. I'm going to add in about 15 or 20 percent
of our paint here. That's going to be the
mixture here on this one. This one, I'm going to do a little different technique. It's still going to be a
dirty technique because we're pouring all of the colors into one cup like we
did on the dirty pour. But instead of just tipping
it and let it all sit, I'm going to tip it
and drag the color out on our Canvas. Maybe I had mixed a
wrong color there, but I think I'm just
confusing myself. I got purple, blue, black. There we go, I got it all. Let's go ahead and
get our stir sticks. Do our little stirring
and you'll know you'll have the right amount
of paint if you stir it up. When you go look it out on your paint stick,
it's not translucent. You can't see through
all the color. You'll know that you have
enough paint in there. If you do this and
you can see straight to it through to the
wood of your stick, then you don't have
enough colors. That's a good way to judge it. What you'll want to do is
put a little color in there, test the color on your stick. If it's not thick enough color and it's
still translucent, then you'll know add more color. [NOISE] These are
some strange colors. I'm trying to be
adventurous here. This was the black I
hope. I think it was. Once I've got all these mixed and it doesn't
really take that long if you're using a decent paint
[NOISE] that has no clumping, like it's not real
thick and clumpy, it doesn't take too long. Then [NOISE] tap it and make sure you get all
those air bubbles up, and I just squish
those along the side. In course, you can wait for the air bubbles to come up
naturally if you want to, cover it with some plastic
and come back to it, you could do that. You could leave those for
several hours that way. If you're using some
of these mediums, you can mix them up
and they would stay for quite a few days as long as you cover
them with plastic. I've got the purple. Then you just have to decide how do we want to
layer these colors in? Do we want to layer
them on top of the black or we want to
try something different this time and layer
everything on top of say the purple and
put the black in last? There's lots of options
that we can do here. Then of course, again, I want to remind you
that paint's still wet, we'll be careful here. But I do want to
remind you to just tap these colors over here on your art journal so that you can write
down what they were. Because if you end
up loving the piece, you'll definitely
want to repeat it. If you end up hating it, you'll know what you use,
so don't do it again. [LAUGHTER] Just get a little
dab of all the colors. We can come back later and
write what those colors were and then set
that to the side. See keeping a little art
journal is not a big deal. You just have to
remember to do it. Let's set all our
colors to the back. Let's pull our Canvas up. Again, just to remind
you of my setup here, I've got just a cookie sheet that came from the
grocery store. This is a disposable one because I wanted several
when they're cheap. I got that covered
with a piece of wax paper to catch all
my yummy drippings. Then I have my little tray here that we're
sitting on top of. You don't have to have a tray if you want to have a couple of short cups and have the
cups on the tray like this, that is just perfectly fine. Well, I'll leave
like that for now. I will use the little kitchen trays which
are dish strainers, like if you go and
you're wanting to have dish strainers
for your kitchen, That's what that is.
The dish strainer. I only use it
because I have them. If you don't have them, don't worry, set it up
on some cups like this. That way all the drip
goes to the side. Instead of catching
on something. I'm going to go ahead
and put my gloves on. I'm just going to
pick a color and go. I might set that right there. I might go ahead and just pull
out the colored spatulas. Now I'm just going to start
layering some colors in. We'll just see what we get. I did it to mix a little
extra paint in this. I don't mind if I'm
dripping onto my Canvas because I'm about to lay a
bunch of paint on the Canvas. I did not put any silicone
oil in our mixture. We are using the Liquitex stuff. I'm going to put some
silicone into a little bit now before I'm done
because I want cells. Not too much, just
a couple of drops. Then that's all right if I mix another color
in there slightly. [NOISE] I just put that in blue now
I can't remember. Well, let's stir this
up just in case. Now let's just keep on
putting some colors in here. This cup has a little more
paint than other ones. I definitely got happy with my pouring mixture. That's okay. But try not to use too much paint because I don't want to end up
with a lot of waste. I do try to be cognizant
into that now, I'll just pour the black on. That's definitely
more paint than I've used on the previous
ones, but that's okay. Now, I don't mind the
paint on the Canvas. We're about to get rid of that. This is a prime to white.
It's not just plain white. Now I'm going to tip it just like I did with
the dirty pour. Look at that pattern right
there, look how cool that is. I'm going to tip it
like the dirty pour, but then I'm going to tilt
it and we're going to come further out
with our color and just see how doing that drag works better than
just a dirty pour spill. I'm just going to tip it over. I got the paint sitting there. I'm all on my Canvas. Sticks there everything's
going to be all messy. Now, I'm trying to
pull it out this way, so just do the best
you can with that. Then start doing your
little tippy thing. Again, if you want to keep some of that paint on the Canvas, then put your hands there and let it go back
on the Canvas. Look at that very
spacey, psychedelic. I think these ends up here, and then we'll look at this final composition.
There we go. We got everything off the edges. Look at that. Oh my goodness. We've got some cells coming
out. Look at these cells. I'm going to take off
these gloves because I had the paint spilling into
them. There we go. Then I'm going to
just hit this with our torch and see if we can get a new little cells to form that we don't already
have go in there. This is so cool. Look at these little ones
pop out. Look at that. Look at all that can
pop out right there. My goodness, that's yummy. Then I do have on this piece, what I think is a crater just right there
where it's dipping. I want to have a little
dippy things as possible. I'm just going to take a little paint stick
here and maybe dip some paint on
there and touch that with my torch and see if
that'll just flatten out. [NOISE] Here we go. My goodness. Look at how pretty
that came out. That's pretty amazing. I'm looking at it from the side and I don't see any craters. That is pretty cool with crazy colors
that I've pulled out. I'm liking that pretty good. That was a pour
pulling it along, which allowed us to change the way the pattern did it formed a little
bit and it changed. It really led me keep a
lot more of my paint on the Canvas and then
bubble out than just the pulling the cup up. Because pulling the cup up, I really had to manipulate it way further out to the edges. I think we lost a lot more
paint over the edges. But man, I'm loving that. That is like pull the
cup up and drag it down. I can't wait to see
this dry tomorrow. I will be back. This piece has really
turned out beautifully. Even though I cautioned you in the last video on Canvas panel, this Canvas panel had
stayed really beautiful and flat with no issues
whatsoever, no warping. It's pretty and shiny. It really turned out beautiful. The paint underneath it, that's going to be
our skin when this completely dries because there's quite a bit of paint down there. Some of that still
wet is going to be a really beautiful skin for us to maybe pull some
pretty pieces out of. This right over here is
particularly beautiful. This right in here
is really beautiful. I'm pretty excited
about the skin. It's very pretty and shiny. This piece, definitely love it. Again, this is just
another example of if you choose Canvas panel. Sometimes it works out great, and sometimes it doesn't. Definitely I love how
this one turned out. This was the pour and pull. I love all those yummy details that we got out of this one. I'll see you back in class.
22. Multiple puddles: [MUSIC] I've got a
new little technique that we're going to try today. This is going to be
multiple pedal pores. Instead of just one puddle that we made on the piece
that we already did, we're going to do a couple
of pedals and then shift it around for our pattern. I'm actually using the Liquitex pouring medium this time, and I've poured quite a bit, so I do have an extra little
small piece available, and this is one with
another piece of art that I didn't really like so I've just gessoed on top of it. I'm going to have this available so if I have extra paint
left over from the pours, I can do a dirty pour on that little one because I
didn't mix up a bunch of paint. I decided to revisit
the art journal here of some colors that we've already
used in a smaller piece, and just see if we can
get on this larger piece. I've got titanium white, I've got this yummy aquamarine, I did this yummy perinone
orange and iridescent bronze. I went ahead and mixed
up a cup and I've got about 25 percent paint
to the Liquitex medium, and then I've also added our GAC 800 so that
we get less craters. Then I've also used varying drops of silicone
oil in the three colors. One of them just has one drop, one of them has two drops, so one of them has three
drops just to see how we can get different
cells of color. I know what these colors look
like because I took one of my drip-off skins and stuck it right here on
the bottom of that page. It is really super helpful
to go back and be like, oh yeah, I loved these. Let's try these colors. I hope I've convinced you on
the art journal that this is such a valuable little thing
that you can do as you're pouring your paints
because then you can go back to things that you love. Before I get started
with this one, I'm actually going to
prime the surface with my gesso because I just realized
I haven't done that yet, so I'm just going to use
white gesso and prime it, I'm also going to
paint the sides, probably one of
these three colors so that as it drips off, then I don't have to worry about covering any spot
that was left white. Then we'll go from there. If we want the colors
to be more vivid than what I'm going to get on this white surface remember
you can paint it black, but I'm going to
do the white and we'll just go from there. I'm going to go ahead and put gesso on this and I
will be right back. I got gesso on it and
I've painted the sides and still a little
bit wet, and I had a little tiny bit of paint
that I squished on the top, but I don't even care because we're going to
cover all of that. I'm going to get this
place real good here on my little stand here, and then we're going to start pouring some
puddles of paint. I've got an experiment
that I will try here to see how
this dries overnight. I have the white
still mixed up with our flow trawl methods. I think that's going to be very interesting
to see how we get cells out of the white versus the other two colors where
I've used the silicone. I thought that'd be an
interesting experiment. I've got these, they've
been sitting for a bit, so the air bubbles
have had a chance to come up to the top and pop, and now I'm just going
to pour a couple of puddles of paint
here and some white, and then we'll work it and
see what we get in the end. I'm just going to
layer these like we did on the little piece, and you're working pretty fast here because as
you're doing all this, your paint is moving. You are working pretty fast. It's almost like I
need more hands. Don't forget the white. I've got quite a bit
of spread going there, so I may need to go ahead and just see we might have enough paint on here
and we may not. Let's just go ahead and start spreading this out
and see what we get. Again, you can use your
hand to keep some of that paint on your Canvas as you're working
your way around. Now that's pretty
cool right there. I do have some extra
craters that are building. I'm going to go ahead and apply the torch a little
bit and I'm using my little tiny propane
torch for this, and just see if I can get
the cells to come out. We want to keep
that torch moving around pretty good so that you don't scorch
any of the paint. You're just trying to coax it. That's very interesting. There are some craters of
color that have appeared. I'm not sure if
that's because we used the two different mediums because it could certainly be or if I just had not let
the primer dry enough. I'm just going to
take my little stick here and pick up some paint, and just maybe add
a little bit of paint in anywhere that I
think is a little dip. That's going to require some
more experimenting there if it's the two different
ones that I use together, that's making those
extra deep craters or that I use too much silicone. Did I not stir it up
enough? That's possible. [LAUGHTER] But I do love how these colors are moving and meshing and doing their thing. I really loved the dirty pour, the clean pour gives you a completely different
look though. It's really fun to puddle
things like we did on this piece and just see what are we going to get. I think I filled all my little
craters then that I see, and then I'm going
to set this to the side and we're going
to let this one dry overnight and see
what we get tomorrow once it's done moving and
shaking and doing its thing, and I do actually have so much paint leftover
that I'm going to do a dirty pour on a little one, and we'll go from there. This piece has now dried overnight and
it's on the Canvas, so it is just about dry, but I don't want to touch
the top just in case. But I really love how some of the elements on this came out, these really beautiful spots where the cells are so pretty. This is super cool
the way it came out, I really love our
final piece here. I will say on the sides, this is the one where I had the two different flow mediums, the flow trawl and the Liquitex, and we had several
spots repel on here, and I do believe
that that's probably because of the two
different mediums, and I saw on somebody
else's post on a group that they had a lot
of cracking occur when they used two
different mediums. As an experiment here, and just to tell
you the results, these little repelled spots
down the side all stayed, and while it doesn't look bad, it's not something
that I want to occur on every piece
of art that I do. I think going forward, that's a really good
experiment that tells me I probably should
not be mixing two different pour
mediums because they may not react well with each
other on your painting. I hope you loved the
way that one turned out and I'll see you back in class.
23. Dirty pour with left over paint: Since I'm doing a
little dirty pour, I thought we would go
ahead and film it. I'm just going to pour
all of these colors into one container and I could have
layered them in there, but I'm going to do a solid. Let's wipe there and then
we put some white in, and we'll see how that does. That's a lot of paint. Very sadly, I don't
want to leave the house with all the paint mixed
up unless I covered it up. I'm going to go ahead and
dump this one with one glove because I have finally used two whole boxes of all my gloves with all the different
art projects that I do and I need
to go get more gloves. I'm just letting it sit there
for a bit and do its thing and I'm actually going
to just do a dirty pour. I'm going to put this
on here and tip it. I forgot wax paper, so I'm glad I didn't
completely do that yet. Hang on. I want to catch my runoff for a later project for my skin. Put a piece of wax paper down, and I just have this
sitting on a cup. I'll try to just use
one hand, so we'll see. We're just letting that
do its thing there. I'm just going to do a
dirty pour on this one to use up all that extra paint. I really probably should
have done two of these because that was a lot
of paint in that cup. I'm just going to tip it so
we get it off our edges, and then I'm going to
just take a stick maybe, or my palette knife, and spread some of this paint. Well, I guess I could
do my one dirty glove. I'm going to spread that
paint right on the sides and make sure I got the
sides covered here. This is another
little experiment that white had the Floetrol
instead of the Liquitex. For the very first piece here, I am noticing that the paint
is pitting on the sides a bit like it's trying to make its own little craters with
the other colors there, and I don't think I love that. That is a really
nice lesson for me to teach you while
we're doing this class. Mixing the flow mediums does
affect the paint adhesion. I got a little torch here. I'm just going to go through
and coax the air bubbles out and some cells to form. I think I'm almost out of gas, I'm going to switch
to my other torch. I'm a little bit obsessed
with how granite these are and how cool
the patterns do. That's pretty cool. I'm going to go ahead and let this one finish
dripping and drying overnight and then we'll see what our
extra little piece turns out just from the leftover colors of the bigger piece
that we just did. This one has been
drying overnight now and it's another really
good example of mixing the two makeup pouring mediums and it maybe not turning
out as good as you'd like. I think the white really
looks dirty on this one compared to when I use
all the same medium. I've also had the paint
repel on the sides and I really feel like
it's the two mediums just not gelling well together. This is the one that I poured on top of the other piece of art. It's got a little bit of the
texture of the piece of art from underneath coming through. I think with the dirty paint and then the extra texture
from the art underneath, this piece and then
the repelled sides, actually I don't really
like this piece at all, but it was a very
interesting experiment to show you what occurs when you have a lot
of elements thrown together just as a dirty
piece to see what you get. I may just solve that and try again or I might
just put it to the side and not do anything with it. I don't know, we'll see. But just to show you what
that one has ended up like. But I got to tell you it's
not my favorite piece and I probably won't mix my
different pouring mediums on any other piece after that. Just a good example to give you an idea of what happens
when you do that. All right, I'll see
you back in class.
24. Doing Dip pour and dirty pour: [MUSIC] In this video, I'm going to do
another dip painting, but this time I
remembered to add my silicone oil to our
paints so that we can see an example of a dip
painting without the silicone cells and
with the silicone cells. I've gone back again with
the silver, the warm gray. This time I picked a turquoise
and this deep dark blue, that looks like a dark
turquoise, and a white. I've put the silicone
stuff and everything, but this darker color, just testing it out and I actually may have put too
much silicone into the white. It squirted out instead of giving me a nice
little drop drops. Hopefully, I don't create
any extra craters. This is the Liquitex with
the little bit of GAAC 800 in it, and I'm going to
put out enough to cover this. Then because this
is a lot of paint, I actually have a second canvas ready so that we can
dip the second one. These are cradle boards. This was a little
cheap economy pack. It's got the half-inch sides and that'll give us a good
example too of the cells, how to create the cells
and how it works, and looks a little different
on the board versus those canvas dips that we did. I'm going to just
pour all these in. Again, now this is
a lot of paint, so I do have other boards prime. I'm going to pour some of this
on the board and do a dip. Maybe do a second dip. Then I may actually
need to do a pour on a third board because
that's a lot of paint. I'm just going to guesstimate this because I can see the
size of my board right here. Look at that right there, and we're going to
squish it down. I'm going to just go ahead and do a little
more paint there. I'm just going to squish
it around and make sure I'm getting
everything on here. I'm going to pick it up. Let it do its thing. Look at that. I'm going to go ahead
and catch my sides. I'm going to go ahead and
torch this one, and then I will swap out for the
black canvas because I thought how cool
would it be if we see the difference of these pores
on a white versus black. I like experimenting. It looks like a peacock. I must have touched that. Let's just get some
paint on that there. If I had any pink in there, it really would have just
been complete, wouldn't it? For like a peacock. That was like a peacock
feather right there. Did I touch that right there? I do see some little
cells forming, so I'm going to go ahead and
drop some paint on here. I see some craters, I mean. That could be to the excessive
amount of silicone that I had [LAUGHTER] in the white. Or it just could be the
silicone acting finicky, which definitely can happen. The paint acting finicky. But while we're
still getting wet, I'm just going to make sure
I fill in any craters. That's pretty. All right,
I'm going to torch that real quick and then we'll let it do its thing and I'll swap out
for the black one. [NOISE] As we catch our paper on fire. Again, well, that was a
little bit high on the torch, but that's a good reason to keep a fire extinguisher
handy just in case. I'm just going to make sure. I don't want any little craters there on my finished piece. I'm just going to go
ahead and tap some more. Some of that on it and
then maybe torch it and see if we can
flatten that back out. I think what I might do on the black one is do a dirty pour with the paint that's leftover and
let it stream over the sides and just see
how these colors react, doing a different pour method. That would be super fun. I think I'm going to do that. Here we go, and I'm just going
to torch it one more time. Get that to smooth
out hopefully. I'll turn my flame back down. [LAUGHTER] Now that is what occurs if you hold your flame on your piece
of paint too long. I'm actually glad that happened, but that's what it looks like
when you scorch your piece. If it's early in the
piece like we are now, you could come and
scrape that back off, but it's created a skin. You can work that in and scrape
it back off a little bit. Then we can come back
and touch that up. See it makes like a skin there. I don't want to go
ahead and pull that scorch out if I can. It's not a big deal
if you scorch it. Just realized that's what
happens when you do it. I'm just going to
pour some more paint on top and let that smooth on into our painting. It's an easy repair. Your piece is not
ruined if you do that. But that's what it looks like if you scorch it and
then of course, if you catch it on fire, like I did that paper,
you get flames. I think now I'm going to go ahead and
let that do its thing. It looks like a little
peacock feather. I don't want to
completely ruin it. I've got the bubbles popped
and I'm going to swap out for our black canvas. I think I've got
enough paint here. I'm just going to do
a dirty pour on that, so I'll be right back. Here's our black one, I've got up and ready. On this one, I'm just going to dirty pour this and
I think I'm going to move our dirty wax
paper out of the way. This we can just let that dry and be a great big pretty skin. Then we've got a
pretty skin to work with later if we want to
make something out of it. I think what I'm going to do, I could do a flip. I really liked the green one where we did
this pour like this. I think that's what
I'm going to do and just see what the colors do. Don't let our canvas fall. [LAUGHTER] There we go. Look at that. Now we can decide what final
composition do we want? That's pretty cool right there. I think I'm going to let the
sides do their thing there. I'm just going to touch
up any spot that's black and it's going to be super interesting to see how
the colors are completely different on this black canvas
subversives that white one. Got pretty that is. Just covering up any
obvious black spots. I'm going to hit that
with a torch and let those cells do their thing.
Well, I love this one. [NOISE] This is just popping any air bubbles and
coaxing out any last pattern. That one is so pretty. We're going to go ahead and let this one dry overnight with the other one and we'll let it do its thing.
I'll be back. This has dried beautifully. This is another piece that
makes me pretty happy. It's not real showy and
the colors and everything, but it just looks like
a peacock feather or a subtlety of color and I love the way the pattern
created on this. We could put it one
way or the other deciding on which way we
like that composition, but I like it this
way with all of this going up like this. This is so pretty, I just love this blue color, that's like my favorite. Teal is my favorite color and that's got all my
favorite colors in it. I'm really thrilled
with the little bit, the way I created the cells and the way the
color is sprayed. This is a really pretty piece. I'm very happy with
the way that came out. My goodness, look how
pretty this came out. This is almost like a
waterfall cascading over the edge and maybe down
below that is the water, sea falling underneath
the water hitting it. That turned out so
cool and I actually think my table was
on a slight decline, the one I had this sitting on, I should've straightened it out. But because of that, all this cascaded this way, and it made the coolest pattern. This one is pretty thrilling. It's my favorite colors. It's a really nice contrast to this one where we use
the exact same colors, but this is very light
and this one is dark. The two pieces together make really pretty
contrasting pair there. This just thrilled
with how pretty those colors turned out and
the way it cascaded down, leading your eye down
through the canvas here. This one's really beautiful. I can wait to hang that one up. Pretty excited. I hope
you like the way that one turned out and I'll
see you back in class.
25. Dirty pour with left over paint: [MUSIC] I actually
have a whole bunch of paint leftover from one
of the other projects. I think I'm going to
just do a pour here on a canvas so that I use all this paint
instead of wasting it, and I hope I got
enough mixed up. But I've got the blue red light, I've got the purple matter. I've got the orange medium, I have green, and I have white. I'm just going to
do a dirty pour on this and let it do its thing. Some of these have silicone
in it and some of them don't. Well, I think one
of them doesn't. I'm just going to go ahead and layer these colors in here. The green is not necessarily
my favorite out of these, but it is one that I have
[LAUGHTER] a lot of paint, and we're just going to use
it and see what we get. That's a lot of paint. That was even more paint
than I anticipated there. Then if you want to stir, you can do maybe one
stir around maybe two, but don't do any more than that because you'll end up with mud. I think I'm just going to
do the pour like this. We'll get it to do its thing. I feel this is going to be
very green when we're done. [LAUGHTER] Oh, maybe not, here's some pink and
white coming out now, let's get that. Oh, I didn't put
gloves on, hang on. Don't fall too far
over the edge here. [NOISE] You want really big cells, you get the cells to form
at the small puddle. If you want littler cells, then you start torching it as
these get more spread out. That's crazy colors here. We've got paint going
everywhere right now. My little table board is not quite big
enough for this size. This is I believe the
11 by 14 canvas here. That's pretty cool. Do we like that composition? Do we want to move it
around a little bit? I feel I like that. Let me hit that
with the torch and see what cells we can bring out. [NOISE] Look at that. Little cells popping out. We also have some craters that could have been too
much silicone in my paint, and it could also be because
I did not prime this canvas. Different reasons
there to get craters. That's just going to take
some practice on your part. Look how pretty that is. Just going to take
some practice on trying not to get those. I'm just going to go through and fill in any spot that
I feel is a crater. [NOISE] I just went through and made sure all
my sides recovered and now we are in drip city. [LAUGHTER] I'm going to go ahead and let this one do its
thing overnight and dry. I'll be back to see what
this looks like tomorrow. I do see one last
check for any craters. One more somewhere, but I do one last little crater check and maybe a little dip
of some paint, and then we'll let this dry
and see what we got tomorrow. I'll be back. Look how pretty this turned out. I think there was a
slight dip in my table even though I do have little sticks underneath
it to level it out. I think it all shifted
a tiny bit this away. But I love it because
it looks like it's raining down of
color from this way. I love how the composition has put the little bit of
lighter tones up here, and it comes down to
the darker muted tones. I'm thoroughly happy. [NOISE] Let me get
this off of the little rack it's sitting on. It's on there pretty good. I'm thoroughly happy with
the way that one turned out. Yummy. The finish is pretty. I love the big cells, I love the way the
color cascades down. This is a pretty piece. I'm really happy with this one. I hope you enjoyed that one, and I'll see you back
in class. [MUSIC]
26. What not to do- don't touch: Let's talk about one thing you absolutely don't want to do. So this is a little piece
that I bought last night and I thought, I love
this, how beautiful. I'm actually a little bit
obsessed with how it came out. And so I came up this morning and I couldn't wait
to look at it. Most of the paint
is completely dry. But this stuff
doesn't necessarily just dry overnight even
though it's acrylic paint because we've got so
much paint on the canvas that I accidentally
went to pick it up and put my thumbs right
here on the canvas. You can see two
fingerprints that I created that made deep little
craters of paint there, so what I would really caution you not to
do is get overly excited so much so
that you come up and start touching it
the very next day. Because more than likely, it's not dry on the
most important parts, which is the part
you're going to touch, I'm sure because
that's what I did. so I just want to
hoard a warning there. Let that dry for several
days before you dare even try to touch it,
put it on a rack, and forget about it for a
couple of days until it is for sure completely dry before you
touch anything on the top. If you're going to pick it up, pick it up from the bottom, not from the side because the sides possibly
could be wet too, and then you've got a big
fingerprint on there. I'm going to try to
do a second pore just right on top of this. But my concern is, is because this stuff, levels out that any divot on my canvas is still going to possibly show on the new layer. So it's just going
to be an experiment to see how that works or not. Because conveniently enough now, if I try to come back and smooth it out a little
bit, the parts dry. What the heck? That was annoying. I just wanted to
share that with you so that hopefully you
won't do that too. I'll see you back in class.
27. Pour Over a damaged piece: [MUSIC] We're going to do a repour
here on this piece. I thought I'll just
go ahead and film it while I do it, and
then I can show you if it worked or not
so that you'll know later if this is something
that you can consider or not. I'm just making
some more mixture and I'm using the Floetrol. I did go back to the store
because I had to get some more Floetrol
because I used it all and I got the gallon. The gallon price
of the Floetrol is actually a little
bit less expensive than the gallon price of the Elmer's which I was actually
completely surprised by. Because I do particularly
like the way the Floetrol looks on the Canvas with the way it naturally creates
all of these cells. I'm just going to go ahead. I've mixed up that's
Floetrol and color. This particular piece
has dark deep blue, which is actually more of
a really deep turquoise, which does not look like
that at all in the bottle. I got to tell you maybe
my favorite color out of these paints that
I got from Blick. Then this one is a
Blick orange medium. Then this is the
Blick pale gold. That's the colors I'm using
because that's what I used on there and I happened to pick them up when I was in the store. It makes the very
prettiest teal. I'm not sure why they don't call that dark teal [LAUGHTER], because that is not the color
coming out of the bottle. The Floetrol I've just got maybe 30 percent
paint to Floetrol. [NOISE] I believe yesterday
I poured all these colors in [NOISE] on the white, and I'm just going to tap them and make sure I don't have
any air bubbles. [NOISE] I've used these colors a couple of times because
I personally love them. [NOISE] Maybe some of
my favorite colors. I'm just tapping to
make sure we have no air bubbles and now I'm just going to layer all these
into the white cup. I got orange, and then I've got blue, and then I've got gold, and then I'll just do it again. Orange, some blue, some gold. Then I'm going to
go ahead and just pull the rest of that
paint with my stick. [NOISE] I'm not going
to stir the cup. This is a little bit more paint than I probably
needed for this 6 by 6 cradle board because
this is on a cradle board. I like the deep 6 by 6 size because these are
ready to hang and then make a statement with
those deep sides. This is 6 by 6 by 2 inches. I'm going to put
on my gloves first because we're about
to get messy. I'm just using the same tray that I had used the
first time with this. But if I want a different skin, if I want to use those
skins down below, I could trade that paper out
for a new piece of paper. But I'm going to go ahead
and just use the same, and on the back of this board, and that's still wet. Look at that. Let me just make sure I
don't create a crater here. Let me just scrape that off. Good lesson there. [LAUGHTER] I'd rather watch you see
me do it and look at all the different common
mistakes that you might make before you do it yourself
and ruined your supplies. I try to make all the
mistakes that are most likely going
to happen to you so that you can avoid
making that mistake. Let's just try again. I've taped off the bottom of this so that when
we're all done, I could peel the tape off and we're just going
to flip it over, set it back down on its cups. Let that paint settle down and
do its thing for a moment. I hope the second
one is beautiful because that first one I
was really upset with. I think that could truly
have been my favorite piece. [LAUGHTER] Then we're
going to go ahead and just pick that up and let that dirty
pour do its thing. I'm just going to wiggle
some of that paint on top and let's see
what that does. I'm going to tip it some because I do want to
go off the edges. Because the sides
are so deep on this, so this is completely different
than that first one that I just had on there, wasn't it? I'm actually going to get my
torch ready and see if we can make some of
the spots come up. [NOISE] Just see if we can tempt some yummy pools of color. I'm so obsessed with this size that I
think I'm going to do a whole series of this size because this
little 8 by 8 is super fun. Another thing I want to
tell you about since I'm already experimenting
here on this one, you can draw designs into this while it's still wet and
get a pattern going. I'm going to use the
end of a paintbrush, really just the very tip here. If you want to very carefully come through and
make some swirls. You can see here how
we can manipulate that pattern into something
really cool if we wanted. We could do some little taps, we could come through and
change the pattern there. You can just draw all
through there really. Just swirl around
if you need to. Keep that in mind. If you're looking at it
and you're thinking, Oh, I need a little pattern. We can swirl this paint
to do some fun stuff. That's drastically different. I got to tell you it's
not nearly my favorite as the first pore
underneath this was, I'm really very sad that I
came up and touched that. Then we've got the sides here. If you need to cover
the sides anymore, you can just pick
up some paint here on a spatula and we can come through and just touch up any part of the sides
that didn't run down. That's how we can fix that. If you have like a corner that didn't get any paint on it, you can come back with your spatula and add
some paint to a corner. That's a nice, easy
way to touch up the sides and the edges there. Now, we just got to let this
dry for a couple of days. Actually, a couple of
days this time not, come back in the morning
and touch it like I did. Good lesson for us to learn. Then once this is dry, I will come back and
we will take a look and see if doing
a second coat on here really will fix any fingerprint craters
that you accidentally made. Then we'll just
see how that does. I will show this to you once I've let it dry
for a couple of days. Let's check out how
this one ended up. It's actually still a tiny bit wet because
I've only waited overnight to come back and show us how this
piece has turned out. We're stuck a little bit
to our cups and I hate to force it at the
moment because I don't want to
accidentally touch the top like I did with the other piece that
I showed you where I touched the top
with my thumbs. That's how I did that. I was trying to get
it off the cups and my thumbs touched it. That's how I ruined this piece
that we have now repoured. But the repour is
really beautiful too. All in all, I'm actually
very happy with the way the repour came out
and the sides are beautiful. Rather than repeat
my mistake because, that's still wet down there, but that paint that
was under there wasn't 100 percent dry before we pour it on top of it
so I had to touch it and really ruin it. But I am overall very happy
with the way it's turned out. It is dry enough that nothing
is going to shift anymore, but it is not dry enough
for me to touch it or really move it off
of this panel piece. I do love how this turned out. If you have a piece
where you stick your finger in it
because you just weren't thinking it wasn't dry. You can pour over it, wait a day and then go
ahead and do your pour. Then if you're doing
them on a cradle board, which is what I did
here on this piece, these do tend to
take longer to dry. That's probably why on this original piece
that I touched, I had some canvas pieces
that were completely dry. I just assumed everything
would be dry and it wasn't. If you're doing it
on a cradle board, definitely wait at
least three days before you're tempted to
even see if it's dry, set it out of your way
and just let it sit for three days at the minimum,
before you come back and think, is it dry or is it not? Then be super careful if you
decide to try to touch it. If you could set it to
the side and let it wait for a week,
that'd be ideal. But just want to show you
the final pattern that we ended up here with because, as the paint is
still spilling over, it's still adjusting,
it's still moving. There's no way to tell what the final pattern
is going to be. It's usually not
what you expected. But this did turn out
really beautiful. I'm going to set this
back to the side and let it dry for a couple
more days before I even attempt to get it to come off the cups here, and I'll
see you back in class.
28. Advanced silicone techniques: [MUSIC] In this video, I
want to show you some advanced cell techniques. I have a piece that I poured yesterday that wasn't
part of the class. I was doing this just as
a little series I wanted to do for myself because I like these colors and
I wanted to see if I did a whole bunch
of an ivory color, a little orange, a little blue, a little bronze,
all I could get. Every single one of these have turned out completely different. I've done 12 of them now, just because I liked the
whole series of colors. I liked it mostly
when I did very little of the colors and a
lot of the creamy color here. This, I'm going to
do another board, and I'm doing a flat
hard board panel, which I've not done in class, but I had one of
these in my closet, in an eight-by-eight
and I thought, well that would be perfect
to play with this on. I'm using the colors that I used inspired by
this piece here, which is unbleached titanium
and the basics colors, pyrrole orange in the golden, iridescent bronze in the golden. Then I picked up one of
these little DecoArt terra cotta paint at the
art store when I was there. This is deep midnight blue. I've already mixed up some of these colors because I was
over there pouring some more of these little
tiny boards and I thought this would be the
perfect one to show you some advanced cell techniques because I forgot to mention them earlier in class and hate for you not to be able
to experiment with them. I'm going to do a
dirty pour on here. This is the flow trawl mixture because that's what I
had mixed up when I was pouring the little ones and so I just kept using the same thing, but what I've got here
in addition to that is a little tub of
the silicone oil. I've got a little paintbrush and I've got a little
cake decorating tip, like what you put icing on. I've got a little
container that's got just a real tight
little tip on it and these are actually
not from the art store. They are little vaping bottles, like if you smoke those little vaping cigarettes instead of regular cigarettes
and this is what they put those little oils in to drop
it in there with cigarettes. If you're on Amazon looking for cool little bottles with
a nice little tiny tip, these are excellent for that and you can get a whole bag
of 50 for not very much. I've got them because I used
them with my alcohol inks. They're fantastic
for alcohol inks, but they're also fantastic for putting a little
bit of oil in it and doing one of the
techniques I'm going to show you here on this board. But if you don't have these little bottles,
then don't despair. You can use a paintbrush, the end of a paintbrush. We're going to be dipping
that in the oil and we're going to be
putting the oil onto our paint and creating patterns that just don't come
naturally in a dirty pour. We're also going to be
doing the same thing with this little tape decorating tip. I've got one that's got just a little notches
cut out of it and they make a whole bunch of
different decorating tips. So if you like this technique, you might experiment
with the different tips, but we're going to dip this
in the oil and dip it on the paint and watch the cool
pattern that that makes. I've got the silicone
oil sitting to the side. If you're doing the
PVA glue method, like the Elmer's glue method with the water and the paint, you can put silicone oil in
the paint and then we can also still do this
method on top of that. If you're doing the
Liquitex method, again, you can still put some silicone in there
because then you'll have other little cells
creating around these, or you can do the Liquitex
or the glue method without the silicone and
then let this be your silicone additive as you're adding it on top of here. If we were doing a pouring
over a different piece of art you could definitely
do any mixture too, but I'm pouring on top of a hard board panel and I'm going to just mix up a little
dirty pour of a whole bunch of the cream, and just a little bit of each of these colors. Because I don't want the colors to be dominant. I just want them to be very
pretty, afterthought really. Hopefully, I don't
pour too much in here. [LAUGHTER] Because on some
of those little ones, I did pour too much on some of them and
they're very dominant orange or very dominant
blue, and I want this to be more dominant cream with really pretty little bits of
color coming out of there. Let's just pile this on. I'm doing a little
bit bigger piece than I was just doing so I'm going to add a tiny
bit more paint in here. I also liked it when the colors mixed a little bit
with this mixtures. So I might just take my stirrer and stir around twice and just
see what that does. I'm just going to flip this
on here and get started. Then we're going
to be doing a few little silicone techniques to see how cool that is.
Just a dirty pour. This one may be dominant [LAUGHTER] bronze from
what looks like there. Maybe I put too much bronze
in there, I don't know. Let's let this paint sink
in and do its thing here. I just love the blues and
the oranges on these pieces, they've become a little
bit of my favorite. We'll pick this up and
we'll see what we get. Let me move some of these a
little bit out of the way. I tend to knock over
my little paint cups when I don't intend to. [LAUGHTER] Let's see
what we got here. Look at that color. So pretty. Okay, I'm glad I
did that on this. Let's go ahead and spread it out and we all look how
pretty that is. Then we will come back with the silicone after we've got
it on our board really good. I'm going to take my glove here and carp some of the paint to keep some of the
paint from rolling off so we keep a little
more paint on top. I'm glad I stirred
that one stir around because those are
some pretty colors. I could have tiny
bit more paint in the cup because this
is a bigger size. It's all a little bit of
a guessing game there, but look how pretty that
is. Oh my goodness. Let's just roll a little
bit of that color back in till we get it where
we want it. Look at that. That's really pretty there. Let me change out my gloves here since I have paint
all over them. Then let's experiment
with the silicone oil. I'll show you some cool
things that you get. I'm going to start, I got a little tiny bit of oil here in my cup and I'm just going to tap it down, and
we'll let it do its thing. It's just dripping
right on there. This should make
chameleon cells. Let's just do a few
over here just in case. Still got my little
dipping cup and I think I'm going to put one
of these just right up here, maybe one right here. I'm trying to get
these where there's a little more color going. Then we might try a few
more chameleon cells. Now you can see them start to form here where there's
a lot of color. Maybe we'll just do a
few of these up here. What I like about the
bottle is you can just tip it out and be
a little more uniform. Because a lot of
people do these and do fun little rows of them. You're just going to have to
experiment to see what is the right distance and the right amount of oil
for what you want to do, but I just thought
I would show it to you so you can at least
experiment with it. Those are fun. This right
here is really pretty. You can see these
get a little bigger. I actually have one that's got a round tip
on it so we could even come back over here and see the difference if we
did it with a round one. Then they just spread
out a little bit. Sometimes it makes
a big leafy look. [NOISE] I'm going to
go ahead and hit this with my torch and
see what we get. The only thing I would
caution you with on doing with the cake tips is, you're putting a big amount of oil right in a specific spot. So it could possibly cause
a crater if you don't have that much paint
on your board, so you just have to experiment maybe how little more paint on your board and try to
avoid creating craters. But how cool is that? We've got a couple of
little stripes up here. This little corner
is really cool. I do like the way it did there. That might show
up even better if I'd had more colored
paint in there, more so than the white, but I love the little
additives in there and it's just one more
advance little technique, at how you can
introduce more cells. Sometimes with the
little chameleon ones where the little normal dots, people may call little rows of those and create a whole pattern
throughout their piece. So it's just something
to consider, and I wanted to
introduce you to using those different techniques in your piece to shift
it and change it just slightly in
some unique way. I'm going to let that
dry and then we'll take a look at what
we get tomorrow. Let's take a look at
how this turned out. These are a little bit less
dramatic than if I were doing the Liquitex or the glue method rather than the flow trawl. Because the flow trawl makes
quite a bit more cells in general just because of the tendencies of
that poor medium. If you'll do it with
the other poor mediums instead where they don't have a natural tendency
to create cells, then these become
really dramatic. But right here with
the big flowers, which is what this
technique where you use the little
cake piece does, it makes great big looking elephant ear flowers and they're really more discernible
with the other flow medium, but it's still super cool
here with this medium too. In this corner right
up here where we did the little dips with just
the little dips of paint, the chameleon cells is
what they call that, those turned out
pretty cool too, and they're a little
more dramatic too in the other poor medium, but it is just a super fun
way to add some details into your piece with some
different techniques that you just might want
to experiment with. Here's another bigger
one that we did with the icing tip. Super fun. I hope you enjoyed getting a look at just some
other techniques with the silicone after you've got your paint already
on your canvas. I'd love to see what
you do with some of those techniques so definitely
come show that to us, and I will see you
back in class.
29. Working in a series: [MUSIC] Let's talk in this video about working in a series. While you may do this
intentionally or unintentionally because
you had leftover paint, I do love it when you have more than one canvas or board or a series
of different sizes, all kind of in the
same colorway. I want to encourage you to think bigger than the one
piece of art that you're doing which
is really one of the best reasons that I
personally love doing the art journal because now I can revisit this color over and over if I did a bunch of sample sizes and I got
some colors that I loved. Now I can revisit this as some larger pieces and do it
again and this colorway is actually one that I used
on this little series over here of orange
and blue and bronze. I got a very pretty set of four, which it actually
was a set of five, so even in doing a series, if you're going to do,
say a set of three, do four canvases, or if you're
going to do a set of four, do five canvases, and that way you can
pick from the best four, or if you get five
stunning ones, then maybe the series
just got bigger. But I do like working
in a series of colors. For instance, this
was a series of blue and I might continue to
add to that because yummy, yummy colors but for now it's a series of two because
I had leftover paint. If you're more
intentional about it, this was a series
of four that I did very intentional, same colors, just the way the paints came out of the cups as I
was doing each one really changed
dramatically the look of each one of these canvases
and I sure do love it. That's super fun. This was a series of really, I started off with one
because sometimes I'm not as intentional as
I want to be either. I started out with
this one and this is another blow dryer below. But look how cool that is, it's just crazy the way everything shoots off
and does its thing. But I do particularly love
this piece and it was done with similar shades
here I might have left out like the blue and
just gone with the pink and the silver and maybe
a darker color there. But I started with
this and then I transitioned into that one which was really pretty colors that I then also transitioned
into these two pieces. Even in that collection, you could do a series very similar so that
they're just shifting one color over from the
color wheel and still have an entire
series going there. That was super fun. This
was on canvas panel, this was on canvas, this was on cradled board. It's fun to experiment
with different surfaces. But if it's pieces you're
going to do for say, a gallery show or
something like that, then you might stick to one or two different
types of surfaces, vary your sizes and see
what a collection of colors can do for you
to make a whole set. I hope that is a fun
look at maybe working collections and opens your
mind up to the idea of, let's work in a whole set of colors and see what we can get and see how different every single one of
these can turn out. Because even though
every single one of these turned out so
dramatically different, they're still like a
cohesive collection; you could tell, each one of these was probably
done by the same artist, it uses similar colors, similar surfaces that we used, but still so dramatically
different for each piece. I think this makes them
more exciting way to create than just creating one
piece being done with it. This one I taped off
with the yummy tape. Again, if you're going to make collections that
you're going to sell, it's really nice if you type the back-off and then
the backstage clean. [LAUGHTER] Let's see what
we can do about working in some collections while you're working on
your paint pouring, especially if you have leftover
paint or too much paint, rather than just
dump it all out. Do two canvases at the
same time and make that a better use
of all that paint rather than wasting some of it. I'll see you back
in class. [MUSIC]
30. Blue & Orange Series: [MUSIC] In this video, we're going to look at
working in a series. I know I've talked
about working in a series by showing you
some different examples, but I'm actually going to do a set of four if I
have enough paint, I do have a fifth board
sitting over here. I'm again experimenting
so I can show you what it does if you
experiment some more. I have not primed my boards, and I've done this before and the paintings
have turned out fine. Even though we all recommend
you prime your boards, you do still sometimes get really good results
from unprimed boards. The reason you prime
it is to seal in the properties of the wood so it doesn't soak in all your paint, and so it doesn't create
excessive air bubbles. But I'm going to experiment
with it anyway and see what this little set
of four turns out like. Because I showed you the
one that we poured over, that was my most favorite
piece I think I've ever created with the blue and the
orange and the big cells, and it was mostly white and we did a different piece, we poured over it to do a different piece
earlier in class. I'm going to work with hopefully those same colors because that was a
piece that I did before I was even thinking
about an art journal and I didn't journal what colors I actually
used in that, so I'm going to get
as close as I recall. I've done an orange and this is a cheap craft paint
orange by Martha Stewart, and it is the mace color. I'm also going to do my
favorite dark deep blue, which is more of a
dark teal than a blue. I've got my titanium
white, and then I'm going with that raw umber by Vallejo. I'm surprised it's raw umber because I thought I
picked up the bronze, so fun surprise there. Let's try the raw umber. It'll be a similar
color as the bronze, it just won't be shimmery. Then I did add a little
bit of our silicone oil, just about two drops
into the orange, the blue, and the raw umber. I did not add it into the white. Now, these pieces, I really want to be more
white than anything else. So I mixed up a
whole bunch of white and not very much of
these colored ones, and I'm going to go ahead and put my colors into my cups and start
mixing some of those. I'm going to pour white into
each of these to begin with. I'm going to try to do a
lot of white and not very much of the other colors
because in that final piece, I liked that it
was mostly white. It was very surprising. I'm not even sure how I did it. [LAUGHTER] I got a little white
left over in my cup here. Let's go with a little
bit of the orange. It'd be very interesting to see what the four
different pieces do because there's just no way to replicate any look. Hopefully, I don't overdo
the amount of color here, I really do want it
to be mostly white. I'm putting all on a separate
cup so I can all do them at the same time rather than refilling the cup
for each canvas. That way too I do know how
much paint I've got left over. From the amount of paint
I can see in my cup versus the amount of paint
I have left in these cups, I do feel that we're
going to have maybe a fifth canvas coming up. I'm going to go ahead mix another cup because I do
feel really a fifth, and possibly sixth
canvas in our future because that was enough
paint to maybe do two more. Maybe I will just
do two more because that's enough white
in there to do. Well, I could actually use the white cup there, couldn't I? [LAUGHTER] Even though, you don't really know exactly how much paint you're using sometimes, it's good to once you do a couple, you'll be able to really
visually think in your mind, how far will that paint
go, and do I need to just go ahead and plan
on extra canvases now that I have put
all that in there? The only one that
might be light is this cup number six,
but that's okay. That's still a lot of paint. These are only six
by six boards. I'm going to set these
two to the side. They're going to
be my two extras and I'm going to go ahead
and get each cup working. Why did you dump it like that? I'm working with the blue orange because the blue and orange ones are really pretty to me, and this may be
ugly, but we'll see. I really like I can see
inside the cup here what that paint is doing, real pretty, and I'll go ahead and let's just start here. If we dip some of
the paint on top, those dips will show
up in our final piece, so let's just see what we get. I do like that this one
is definitely going to be more white than color. I'm just going to go ahead
and try to keep some of that paint on the canvas rather than letting it all
fall off the canvas. I'm feeling like this could be a pretty set, look at that. Look at that one. I'm already excited
about this one here. While I'm thinking about it, I think my table leans, so I need to let me just make sure I
got all four sides there. That one is so pretty. I think this is the
table that leans. Before we get too far into really loving these and then
all the paint fall off, I'm going to go back and make sure that I put some
sticks under here. Look at that, that just
totally made my day. [LAUGHTER] I'm going
to go ahead and put some sticks under
these and see if I have leveled these
because I don't want all the paint to
immediately fall off in the wrong way now that I've decided
I like these colors. Really, it's just one side of the table that leans apparently. Look how beautiful that one is. If I end up with six that
pretty, I'll be thrilled. [LAUGHTER] The inside of this cup again looks a
little bit like a peacock. Let me put some gloves back on. Let's go ahead and reveal another one because I just got
totally excited with how pretty that is. Let's go ahead and just
reveal this one here. Look at that. Oh my goodness. So pretty. I'm going to be real
careful, I hope, and not spill paint on the one that we've already got there. Just like that. Don't spill paint on the
one that's already there. A little bit harder when
you're trying to film it at the same time that you're
doing your paint droppings. Look at that one. I think out of all of class, these last ones are
going to end up being some of my very favorite. Oh my goodness, look
how pretty that is. I need the trash can
to be closer to me. [LAUGHTER] Oh my goodness. I am just crazy about
how beautiful those are. Now before these two have a
chance to really overly dry, I'm going to go ahead
and touch these with my torch before I
lift the other two. This is not a case of how fast can you get
all the paint out, it's a case of you've got a
few minutes of working time. But let's go ahead
and touch these with a torch and get any air
bubbles that may be tempted. Look at the extra cells that
just popped out of that, so pretty, oh my gosh. I'm a little bit freaking out here at how beautiful these are. Oh, these are so beautiful. I hope these dry this
way tomorrow because I'm freaking out there
with how pretty that is. Let's do the third one. I'm going to do the one
in the back first so if I drop any paint on
one in the front, I can still have
paint to swish on it. Let's try again. Look
at these colors. I'm just keeping
some of that can, that paint down with my
gloves so that we can preserve all of the paint on our piece rather
than it all fall. Look how pretty this is. I love how there are different, let's put that right there. Look how pretty. Oh my goodness. I'm just going to make sure I
got the sides covered there. They're all pretty. Look at that. Oh my goodness. I love how each of
them is slightly different with the colors
and still the same. I love the colors down here
on our piece of wax paper. That would make a pretty
piece of jewelry maybe. Let's go ahead and
spill this one and then we will be ready with, look how pretty that
one is, oh my goodness. If we hit this
with the torch now before it has time to really all spillover our cells will be a little bit bigger than
if we spill it all over, but our piece is so small, that it just may not matter. I'm just going to go
ahead and go for it. The colors on this
one are even a little richer than what I've gotten here on these
other three pieces. I don't know how I did that,
that's pretty amazing. I am definitely super happy when I go ahead
and think I'm done, but let's just do
one more project and then you get
something like this. Then you're just like, wow, because it was
totally unexpected, wasn't what I planned on doing. But in the end, I
just got something so amazing that I'm glad
I did like one more. [LAUGHTER] Because this wasn't
really a planned project, I just happened to think, I want to make some
more today and so I'm excited to
film another video. [LAUGHTER] Let's torch that. Look at that one, super cool. [NOISE] I was just moving
real fast over those, but oh look how cool that is, these are completely
different than each other. I mean, I'm amazed at how
different each of those is. I still have, if you'll recall, two more paint cups, so I'm going to
move these over to my other table so that
these can be drying. It's really cool because I'm not sure how
we ended up with these little spots
there that are doing something fun and
crazy right there. But I'm going to move these
out of the way and I'll do the other two pieces and we'll have a little
set of six for tomorrow, so we'll see how those turn
out, so I'll be right back. I'm all ready to
dump the next two. Let's cross our fingers
and hope we love it. Really I have so
much paint leftover here that I might just on the six one just pour the paint
in here and see what we get. I know we may not get
as much white on that, but because this
is a set of six, we may have, I hate
to waste any paint. These have turned out so
exciting that I really want to immediately do
another set of six. It is just so addicting. If you love this very organic, abstract look that you get
from these which I adore. It's very addicting. You just can't wait to do
more and more and more. [NOISE] Oh yeah.
[LAUGHTER] So satisfying. You want to do them and
then you're like, oh, these are amazing and so I
want to do six more and oh, these are amazing, I
want to do some more. It's totally addicting, I just can't help myself like now I want to go and
order more boards. I do have four more of this six by six because I
ordered these as like a little pack of econo pack
with the little short sides, even though I love the
little long sides. But this is so addicting
that you're just like, these are on sale, I need
some more and then you want to go home and do
like 20 more canvases. I have whole
Canvases everywhere. [LAUGHTER] I'm going to go ahead and we'll just pick one out and
get started here. Look at that. Turn
this a little bit. This is way more. We didn't use any green, but it looks like a lot of
green in this, doesn't it? I guess that bronze, that raw umber mixed almost like a yellow might
do with that teal and it's just giving us a yummy shades of green in there that I really wasn't expecting,
but that's fine. Look at that yummy, yummy streak of orange there. Oh look at that. Oh,
look how pretty that is. This is the most exciting
part when it starts to reveal itself and you get
excited about the way it looks. I mean, I just get so excited because I'm
not really good about painting like intentional
pictures where I was actually trying to create something
you could recognize. But the fact that I get so excited with these that
are a lot more organic and unintentional and then you
get something that looks amazing and it wasn't even something that
you did on purpose. I mean, look how pretty that is. I love this little
streak of green. I'm going to just tip this around to make it
easier for myself. Let me tell you
moving your stuff from one table to another, like I do for filming here. I'm filming on my
little art table and I moved all these over to a different little
temporary table. You've got to be super careful moving these from one
table to another because I can't tell you how
many times I've accidentally almost
dumped these on myself or on my floor or they fell off
the cup and all the paint went that way because these are just sitting
on a little cup here. [LAUGHTER] You got to be super careful if you
plan on moving them. I would definitely would
recommend that you not plan on moving any of your
pieces after you pour them, put them where they
plan to live for a bit, and then don't move them
if you can help it. Oh, yeah, look at, this one's going
to be nice, rich, yummy colors because I added all those dark shades
in there. Look at that. Now we actually are
getting some of that brown that didn't
mix into a green. That's fun. The more you do, the more courageous you get
with each piece. The first one you're like, I love that, let's stop, and then the second
one you're like, okay, let's do a little more. Then the further you get
and the more you add, the more exciting your pieces turn out because you
get more adventurous. Let me get a glove on.
That one's really cool. These are definitely
making a progression from light to dark because
by the very end, I was using up dark paints. Really cool to see how different
each one can be though. Look at that, let me hit that with a torch and see
what we can pull out. [NOISE] Let me see it pulling
out any extra cells, but we're at least
popping any air bubbles. Look how pretty that is. Those are so dramatically
different than the other set that
it's not even funny, but the colors all
blend really pretty. I'm going to move this over to my table and we'll let these dry overnight and then
we'll come back and take a look in the morning and
see what we ended up with. This collection has been
drying overnight now, and if this set doesn't make
you totally super-excited to make a whole series of
six, or three, or four, I don't know what will because I'm thrilled with the
way these turned out. These two make a nice pair
just because of the way the colorings did and these
four look so good together. But as a collection of six, even though I have
one really dark one in there, I don't even care. I think they're
absolutely beautiful. As a collection of five
they fit in almost exact with the way the colors
did and then out of this, I have each one of them is a little bit of my favorite
for a different reason. I love this bit of color here. The fact that there's a
large swath of color with all of these colors
intermingling in that swath. It's not one solid color. I really love how that draws
over here on this one with that same colorway and right down here with this
same colorway. Really, we were to
just move these around to these three. Those are beautiful. With the colors the
way they've done, we could even pair
up these three, so it could be two
sets of three. The way those colors have done. I'm super thrilled. It almost makes up for totally sticking my thumb and
my most favorite piece that I did and then we did a little pour over during class. Now that was such a favorite one that I wish I hadn't even
done the pour over and just left it like it was with my
thumbprint in it because I've got one iPhone
picture of that. I think it's still my favorite pattern and I'll
never duplicate it again. But this definitely comes close because these
turned out stunning. Now I'm out of little
boards and I'm just obsessed with these
and I want to do two or three more sets today. Sucks that there's not
an art supply store right over here by my house. I have to drive to the other
side of town to get to the [inaudible]
Blick or all the way downtown to get to the Binders. I just know that I need some
more boards to immediately attack these cravings
to create some more of these pours because
they're just so delicious. I hope you love how this
collection came out as much as I love it and I
will see you back in class.
31. Blue, Yellow & Orange Series: [MUSIC] I'm a nut. I
told you these are addicting and I still have
some pouring medium left. I want to do another series because I've just set those
other ones on that table. I am just freaking
out at how fun they are and I still had a few boards left so I thought, let's
just do another one. [LAUGHTER] I love showing you too how some of these
colors end up reacting and looking on the different
pieces that you choose to do so that if you love any, you could try some of
these colors yourself. But it just gives you an idea of what different things look like. In this one, I'm using an
orange medium and a pale gold. I know I've got two
yellows here but this one's metallic,
and I thought that would be really fun
to do with this yellow and blue,
and I love yellow and blue so I'm going
to try yellow and blue. These are the thicker medium flow paints and this
is Naples yellow deep and this is grayish blue. These are thicker
than our flow paints. Our mixture here is a bit thicker which is still
it's thin enough. But those will run less slow like they won't run as fast as these flow paints which is nice. You don't want it too thick, but that's definitely not too thick. It's nice. I like the white. You can definitely
try this with black. The darker black will
give you more like a jewel tone look I think, whereas these would be
more light and bright, they're more likely stuff that I would hang in my house which is why I'm going
with that route. I want these to be a little
more white with the blue. I wasn't going to do the
orange again but man, I sure love orange. That will sell many
colors. So pretty. But I thought I
would do this one with the blue and yellow
and see how that's going to be quite
a bit different than what we've done
there on the other set. I only have four
left of this six by six which these are so fun. If you do a series, six by six is fun. But I do have an ampersand
panel that's already got a prime top on it
and an eight by eight that I pulled out of my
closet because I apparently hoard fun [LAUGHTER]
canvases and art supplies. I do have a little hoard of different size canvases and a few extra boards
there in my closet. It looks like I'm definitely going to
have extra paint so we might as well
plan on using that in our eight by
eight piece there. I'm just going to
make sure that I get all my paint in the places
that I want it, and I want these to not be orange but I've got the
orange so that we can have like a kiss of
orange in there is what I was imagining in my mind. I'm layering these like one of each color and then letting
them do their thing. You can also layer these
white, blue, yellow, white, blue, yellow,
white, blue, yellow. You could do many
layers in your pieces. I'm just going to
layer them once and let them do their thing
and see what we get. Then it's fun to experiment with this and then experiment with the many layers and just see how different your
pieces end up. Let's just do a
kiss of the orange because in that piece that
we did on the other series, that little tiny
bit of orange that pop through was super fun. Then we'll save the rest of this whole bunch
of orange for this eight by eight, which
this is still a lot of paint. I make sure I pulled
out two canvases. A little bit of the gold on top. Hopefully, we'll see a little
bit of metallic in there. You might experiment
with going heavy on one of each color like one could be heavy blue, and
one could be heavy on the orange, and one could
be heavy on the white, and one could be heavy on
whatever the fourth color is, and then see how
different each of those canvases turn out. I'm going to go ahead and just do a little
tip dump on these. You could definitely
experiment too with different techniques but I
love this little tipping dump. Then if you want it
to be a little more controlled you could
dump it like that. [LAUGHTER] But we're
letting this paint get out of its cup. Then let's just start with
this one right over here. Look at that. So pretty. Look how pretty that is. I did put some
silicone oil in two, maybe three of the
colors but I did not put the oil in all of the colors. It's going to be very
interesting to see. Look how pretty that is. What we get little cells
out of and what we don't. I'm going to go ahead. A little flame on that
and see what pops out. That was very interesting. I like the little bit of
red that's almost like a little flame shooting there
off the side of that one. But I'm going to go ahead and move that paint a little
bit further by tipping it because I would like that to be more dominant on this side. I'm just going to tip that
a little bit and see. If you do that after
you torch it some of that paint like right here, you see it creating some ripples. Torching it does make
the paint create a skin so you got to be
careful, and then if you see little wrinkles
appearing then maybe you stop and
let it do its thing. Let's go ahead and tip this one. [NOISE] Look how different that one is. Add some super fun and then if you come back
you can actually put more drips in here
with your gloves. That's fun too. Let's go ahead and
see if I bring any more cells out with a
torch. That one is pretty. [NOISE] Then we're
popping any air, [NOISE] this one did
bring out some extra. Then we're popping any
air bubbles of course that seem to be on the top. Now, that completely
different than that one. Look at that. Oh my goodness. That's pretty pretty. See the two there, look how different those are. I mean, completely different. I'm loving those. Go ahead and move over here. I believe my table's tipped here since that decided to roll down. [LAUGHTER] Because I don't want all these to
roll right off, I think I'm going to move two of these and then we'll do the other two and
I'll be right back. There's more space to work here. Let's just go ahead and, look
at that. Oh my goodness. This one is pretty. This one is real pretty. [NOISE] I like that right there. I'm trying to keep
in mind composition and I like that this
is on the third. I don't love this big white
there right in the middle, so maybe we will drip some paint on that and see what it does. It's not going to do
anything really exciting. I might bring some cells out, I might have just
ruined it, we'll see. Let's go ahead and
tip the second one. I could actually pour a little more paint on
that if I wanted to from our cups because I do have some paint left
in the cups there. I might do that, I don't want that big white spot right
there in the middle. Look at this one,
completely different again, this one really is letting
the yellow shine through. The yellow and blue more so than anything else, that's fun. Look at that, that's pretty. Let me just make
sure I got paint on all the sides and then
swap out my gloves. You might just see if there's any paint left on top of this that'll just, well maybe not. [LAUGHTER] It's going to
do what it's going to do. But I'm going to go ahead
and hit it with a torch, see if we can make it
do something else. That one's really
cool with all that yellow and blue and
hardly any orange. I love this right
here, so pretty. Those popped out right
there, real pretty. Wax paper catches on
fire pretty easy, just be prepared
to blow that out. Or if you don't catch
it fast enough, have your fire
extinguisher ready. That blows right
out pretty easy. Now those are super fun
compared to the other two, so these four definitely ended up hugely, dramatically
different. I'm going to go ahead and move
these to my table to dry. Then I got enough
paint for a great big or eight by eight, so
I'll be right back. I got my eight by eight ready. I got my paints ready. What if we go ahead and just do two little swirls of our
spoon there, let's do that. We'll go ahead dirty-pour this one and let the
paint do its thing. [NOISE] Those two
different series, this one and the one
that we did with the other colors
just a minute ago, completely different
look that we got with just a really very
slight change of colors. I intend to do even a bigger, more dramatic changes
in the colors and really those are pretty
dramatically different. But you only have
so many paints, which I have a lot of paint
back here on my table, but normally you're
only going to have so many colors of paints, so don't feel like
you need every color pick your favorite
colors and then try different combinations
because you're going to get drastically different
results with every different
combination that you pick. That's pretty much down. Let's go ahead. Look at this and I'm going to just do some different patterns because all of this is
going to show up for us. Then we'll go ahead and start. Let's tip in this all around. This one is definitely, you can tell I left the
orange be super heavy in this one because this
one is mostly orange, whereas the other ones are not. Super fun difference there
on this larger piece. There we go, look
how pretty that is. Swipe all the edges. I go ahead and
swipe all the edges because that way we at
least have paint on everything there and then we'll have any extra pretty
drips that get added. That's really pretty there. Let me hit that with a torch. See what other little
cells we can bring out. We can decide do we love the composition or do
I want to tilt it any further before I torch it
and create some skin on top? Because this is the time to
really look at it and decide. Do you like your work side or
would you rather something be a little more to
one side or the other? I actually think that makes it a pretty composition there. I like that, so
let's go for that. Let's just see if we can
bring out any more cells. Look at that, there
are some popping out. We will pop any bubbles that
we've got along the way too. Just being real careful not to [LAUGHTER] catch our
paper on fire again. I think that's all we're
going to get out of that. I really loved these cells
right here, those are pretty. Now we've got a set of four
[NOISE] plus a bigger one, so that's a fun series. You can even do a set
of four small ones, couple of eight by eights, couple of real big ones, all in the same set of colors. Then you have an entire series to then show off at a gallery or something that would be super striking and be in
different price ranges. Little ones, something
a little for somebody that doesn't
want to spend too much, and then you move
on up the line for people that want big
statement pieces. I really do love working in different colorways
for different pieces and then working in
different sizes, so you have a little bit of
something for everybody. I'm going to move
this to our table. We're going to let all of
these dry overnight and I'll show you what we
ended up with tomorrow. Here's this series, all
dry and I love the white, playful colors that we
ended up with here. I like the transition of
the colors from piece to piece and how you get a little bit different
look from say, this piece with the blue and orange to this piece
with the blue, orange, and yellow to this piece with the
blue and yellow. I like how those colors really pulled differently on each
piece than I even expected. Then I love how the big piece
is mostly orange and blue, so that was a super
fun little series. I'm definitely glad that I experimented with
different sizes. If you're doing something
with different-sized things, I would do the small
for smaller purchases, the medium for people who have a little bit bigger budget, and then a few large pieces in that same colorways
so that you have like a nice complete series
working in one set of colors. I'm thrilled with how fun and
playful this series ended up and I cannot wait to see the series that
you guys come up with. I can't wait for
you to come share some of those in the
Facebook group with us and I will see you
back in class. [MUSIC]
32. Keeping the back clean: [MUSIC] In this
video, I'm going to talk for a second about how to keep the back of your
canvas piece clean. These are cradleboards. This one is a little set
of four that I did that is really fun with the colors and the patterns
that turned out. Then this one is that yummy fun, psychedelic flower that I did. On the back of this one, I was not real good
about being prepared and I've ended up with a dirty
back and some paint drips, but the paint drips are not so bad that they even bother me. But if you end up with
paint drips that you don't love on the back and you
want to get rid of it, you can send those off and it
would be easier if you had a hand sander when
you did it so you could go through and just
sand the back clean. But an easier way to
keep the back of that clean would be to tape off the back with that painter's
tape or the green frog tape. Then we can come very easily, just peel that tape
off of the back. Then we get to peel all of the drips and 99
percent of the color, we have a little tiny
bit of color seepage, but not very much. But it did keep it drip free. It was easy to peel off and now the back is
nice and pristine. Two very different ways
to finish your piece. I know it's a pain
in the butt to prep and prime your
boards is a pain, and to tape your board off
is a little bit of a pain. But I guarantee you that the more prep you do
on the front end, the prettier piece
is on the backend, and the less work you
have to do to clean it up to give it away or sell it, or just keep it for
yourself to hang. Even though this is
fairly flat and won't create big lifts on the
wall if I hung it up, it's still sloppy
on the back there. This didn't take
but a moment to do. Then I could just peel
it right back off. Just a little word there on keeping the back clean
and keeping it nice so you don't have to go back and do any sanding to get rid of any
big drips you didn't like. I'll see you back
in class [MUSIC]
33. Cell Comparison: [MUSIC] Let's do a little
comparison here on the differences
in the cells that you get versus the flow
medium that you use. If we use the Liquitex or
probably the Elmer's glue, the PVA glue method with water or the Liquitex with the
low-crazing extender. With no silicone gel cells, no silicone oil, we'll get
one that looks like this. We don't have any round cells of color coming out or
meshing or anything. It's pretty smooth and
the colors look a little more marbled like a marbled
pattern or tree rings. You get that tree ring look
there and it's a little bit different than if we were to
do the same pouring mediums, the Liquitex or the PVA glue
and use the silicone oil. This one is so pretty
the way the cells are big colors and then this one
used the same silicone oil. Again, really big pretty cells and the way the colors
mesh are so beautiful. Then if we go with the
third option where we're using the Floetrol. the Floetrol has its own
cell creating tendencies. It's something in
that product that goes ahead and creates its
own cells and you don't have to use your silicone
oil in there and you get these yummy tight little cells of color all through
the painting. I mean, that right
there, super-duper fun. This one really fun and you have little cells of color all the way through
your entire piece. Completely different
look, especially on these six-by-six canvases of the two different
mediums and the cells they create depending on
if you use the Floetrol or the silicone oil or if
you use none at all. Three completely
different pour looks that you'll get depending on the
medium you choose to use. I just thought that was a really fun little
quick visual example of the differences you're going to get on your canvases versus what mediums that you
use and whether you use a silicone oil
or the Floetrol. Hopefully, you can
take a look at this and decide for yourself which you love better and which one you want
to concentrate on. I really love using the Floetrol because it's convenient and it's easy to use. But I really love the big
cells that we create when we go with the silicone oil
and the other mediums. I think there's reason
really to experiment with all of them and look at the differences
in your pieces before you decide one's for
you or one's not for you. Super fun to experiment
and a really nice visual representation of what
each of those does. All right, I'll see
you back in class.
34. How different surfaces performed: [MUSIC] In this video, I want to talk about
the different surfaces that you pick to
do the pours on. When I started, I wanted to be cheap because I don't
want to use, I want to to practice on expensive
canvas to begin with. But that being said, if you use expensive canvas, remember you can
always do a pour on top of it if you
don't love the finish. So you're not just pouring one on there
and then thinking, I hate it, and throwing it away. If you hate it, let it dry
then pour on top of it. Nice canvas is always
a good choice. But since I didn't
have anybody to say, "Here's why that's a bad choice," on these other
different surfaces, I didn't know any better. So I'm going to
give that to you. I'm going to tell you
the different surfaces that I experimented with here in the background of class so that I could then show you how that works for you. The very first one that
I experimented with, and I actually particularly
love the piece, this was a dirty pour that I just flipped and let
it do its thing. This is on a watercolor paper. It's the cold press
watercolor paper. I do really love it and it has
been drying almost a week. The very first day that I
poured it, it was beautiful. Then the second day after it had a chance to
dry pretty good, it was warped and wrinkled pretty good and then
I thought, well, I guess the acrylic stuff shrinks at different
rates as it dries. It wrinkled up pretty good in the middle and
I thought, well, I don't even know if that's
going to flatten back out, but now this has been just sitting over on the floor drying for a week and it's
actually fairly smooth. I think if I set this, say, under a heavy stack
of books for a while, I might actually get
that to completely flatten out. I don't know. I think I could probably frame that and it would look good. When I first saw the ripple and wrinkle
in it, I thought, well, I'm not going to
recommend a watercolor paper, but now that it's had its chance to dry and do its thing, I
actually like it. That is one option. Just realize that it's not going to be completely
flat when you're done and it maybe could be
flattened out or framed. So one choice, watercolor paper, that's what my experience
with that was. The next thing that I showed you in class was canvas panels. Really, your success rate on these panels is about 50/50. Because these are
all dirty pours, some of these turn
out fantastic. I had no trouble
whatsoever doing the pour, letting it dry overnight, and the panel come out
beautiful the next day. It's not warped or anything. It looks fantastic. Now if you're going
to store these, and you'll see how
that stuck together, Put a piece of wax paper in-between each one and
then you could stack it, wax paper, stack it and they
won't stick to each other. Now, that being said, even though these
three look fantastic, about 50 percent of my pieces
on canvas panel did this. That's pretty warped. This is the dried piece. All the paint ran to the center of the piece overnight
and it looks terrible. I could probably set this under a heavy stack of books and flatten it back out
because it is pliable. Now I don't know if that means
that my paint will crack, but you can even see just
working it with my hands, I got that quite a bit
flatter than we just had it. So I think these
would flatten back out under a heavy
stack of something. Here's another one,
completely warped. Again, I think I would just
need to maybe set it under some heavy books for awhile
to flatten that back out. But what I don't like
about it warping is it shifts your paint and your design right in
the middle of it, so now there's a really thick
area of paint right here. and it's really thin right here. So even though it probably
will look okay in the end, it did move and
distort and change my overall pattern overnight as it did this little game here. Canvas panel, not my favorite. [LAUGHTER] Then I've already
warned you against using cheap panel because
cheap panel will basically do what this does and all your stuff
will sink to the middle. This is a piece of canvas. If you're going to use canvas, it needs to be a higher
quality, nicer canvas. Then just realize that you
could pour, if hate it, you can pour over it
again and you're fine. The heavier, nicer quality
canvas holds up really nicely. Another thing that
I worked with was the cradleboard because I
keep these handy because I do a lot of different
projects that require cradled boards instead
of canvas and stuff. I actually had a stash of
these in my art closet, look how pretty this one is. This was a dirty pour. I did
a set of four dirty pour. We'll talk about that
in one of our projects, doing a whole series
with one set of colors and seeing how different
every one of them is, but I really love the
way these turned out. On the back, to keep it from
having paint settle on it, I taped them off - and
just to show you how easy that tape comes off and
your back is clean. I do love the cradleboard
for that reason. These are the extra
deep two inch panels. You can use any
type of cradleboard from the art store, you get some of the economy ones with a 3/4 inch deep side and
that would work fantastic. Look how nice the end
to the back of that is. You could use any
type of cradleboard with the half inch or 5/8
inch side, that'd be fine. You just want something
super sturdy. I do like the
finished difference that you get on a
cradleboard versus a canvas. The cradleboard looks
particularly beautiful if you do the resin
on top of it, so super nice finish
to experiment with. You could do probably
hardboard panels also. This piece that I work on
here with wet paint, hang on. This is still coated
in plastic because it's a really nice work
surface for paint. Eventually when I need it, I can take the plastic off and my hardboard surface
is still perfect. This is a wonderful surface
to work on for pours, is this hardboard panel. It's just basically
a brown hard panel. This I got from the Dick Blick. You can get hardboard panels
from the hardware store. It's a cheaper quality
with a rougher finish. These came from the art store, or you can get hardboard panels on Amazon that you
might test out. That's a really good surface
to do pours on top of. Definitely experiment with
some of the choices there. I think the canvas
might be one of the really good choices because as long as you have
a nicer quality canvas, you'd make a really nice
piece ready to hang. If you get these when they're running one of their
super duper sales, like I bought a whole bunch of these canvases here
at back-to-school time at the Micheal's and
they were 70 percent off. This is their highest
Quality 3 panel. I got $20 canvases for $5, so I thought, well, heck
yeah. Can't pass that up. [LAUGHTER] So keep
your eye open for canvas panel sales and that's when to stock
up on your canvases. Hope you like seeing the result of some different surfaces. I'll see you back in class.
35. Using Paint Pens: [MUSIC] In this video, I want to talk about what you can do for a little tiny bit of extra embellishment when
you've got a dry piece, but before you add any final finishing
layers to that piece. You can embellish this
a little bit further with more acrylic paint
if you wanted to, or drip inks on it or
something like that. I tend to not do that
myself because it is not as organic as the rest of the
surfaces here on our painting. But one thing that you
can do that's really fun is you can do paint markers right on top of your
acrylic-dried surface. I have the POSCA pens and DecoColor and I've
got several colors. With this one, I've got a gold and I've got
some gold POSCA. With this type of surface, if I decided that I wanted to do a little more line work or
dots or something interesting, or maybe I want to
sign the piece, I can do that with like
a little paint pen. I can come through and just add more details right on this piece anywhere
that I'd like to, and that will stick to my painting and just add to
the details of the painting. Just another extra little thing that you could consider on your pieces if you want to have a little more detail
or some line work, or you want to add in some
dots to go along, say, a whole line of color there, like that, that's really cool. I know a lot of people love
dot work and then look how interesting that little line
of dots now makes that. I wouldn't do it, of course, in just one tiny area, if I were going to do
it on the yellow there, then I might come along the other yellow spots and do another little layer of dots, so that it doesn't
look strange that there's some dot work
just in one spot. Look how fun that
is now that we just have some little dot detail. I do want to encourage you to experiment with POSCA pens or the DecoColor pens or any type of paint pens that
you might have. I don't think regular markers would do very well for this, but the paint pens work amazing. POSCA being some of my
favorite to work with personally and it comes in
lots of different colors. I like white, black, gold, and silver, but it does have purple and red, and orange or some
other colors out there. I just like to experiment and that little tiny extra detail I really love on this piece, so I'm pretty excited that I just did it on the
yellow, purple one. [LAUGHTER] Just another thing you can do to embellish
these pieces, and I hope you enjoy
experimenting with that, and I'll see you back in class.
36. Finishing your painting: [MUSIC] In this video, I want to talk
about different ways that you could finish your painting
after everything is dry, and you want just an extra
top coat to protect it. Now that being said, acrylic paint is
basically plastic, so it's fine, just like it is without any extra
top coat on top of it. But a lot of artists like to do one extra protective coat on top of that just so
that nothing ever mars the surface of their paint. I have lots of different
options that I have in my art room that we'll finish off a painting
like this very nicely. One of the things that I have is a polyurethane gloss varnish, and this one happens to be from the art store because
I bought it at the same time I bought
those Vallejo paint colors. It is more expensive,
in my opinion, when you buy things
from an art store than when you get them
from the hardware store, because at the art store they like to be a
little bit more snooty with the pricing
because it's at the art store instead
of the hardware store. If you buy some varnish
from the art store, it will be smaller quantities, then it's going to
cost you more money. You could very easily just get polyurethane from
the paint store. I like to make sure it says crystal clear and that for this, if you're wanting it to
be a semi-gloss finish or a high gloss finish, you have some of those
different options on finishes when you get a polyurethane from the store. I particularly like working with water-based urethanes because
they're easy clean-up, and they're low smell
versus oil urethanes. I'm usually using a water-based,
easy clean-up product. You can also use any of the clear coat
varnish type products that they sell at the
paint store to coat these. But I would be careful
in what brand you pick, and you might research yellowing qualities
of the brand you have available to you before
you actually buy it. The ones from the art store not supposed to yellow either, and then this is a water-based varnish. That's one option. Another option is to
use a spray varnish, and I make sure on
the ones that I have says non-yellowing on it. I have a lot of them,
I have a Krylon, I have a Minwax
water-based, crystal-clear. This one is satin
instead of shiny. I also have from the art store the Krylon UV archival
varnish series. That's a little
more than the one you might get at
the paint store, but it is made specifically for art projects and canvases. I have the matte one here. It does come in matte, and I'm sure satin and glossy. When you're finishing
the easiness need to decide do
you want it to be shiny or do you want it to be shinier or do you want it
to be not shiny at all, and that would tell you which one of these
that you might like. These stink, so I do
use them outside, and I do really nice
even thin layer and let that dry and
then that is protected. Another option that you can do, which I particularly like
is Dorland's wax medium, and this is basically
a cold wax. If you have any
cold wax supplies from where you do
cold wax paintings, because I do cold wax
paintings. [LAUGHTER] There's also this
Gamblin cold wax medium, which is basically the exact
same thing as the Dorland's. What this is, is a
bee's wax-type product, and it's just the consistency
of like a chapstick. It's not toxic. It doesn't hurt you to
get it on your skin. Basically, you're going to take a cloth for
your fingers and get some on your fingers
and rub that on your piece, and then you would let
that dry overnight. Then you could come
back tomorrow with a soft cotton cloth, and you could buff that surface. It's not a super shiny finish, so this would be a
little bit more like a satiny sheen that
it gives your piece, but it is a really nice
protective coating. You can use it on top of any of your cold pours
that you do here. Then the other thing
that I love to do on top of these is the art resin. I loved the art resin
because it does not stink, and it does not yellow. If you get the epoxy resin
from the hardware store, which I've done and
recommended in the past, but I no longer do, and
I no longer recommend. They stink a lot,
whatever it is in that resin that they've
got it's like super-duper, stinky, so you need to ventilate
your area really well. Those products turn yellow. They actually turn
yellow relatively quickly in the lifespan
of a painting, you're going to
within six months see that resin start to turn colors whereas if you
will use this art resin, it does not yellow. It lasts for a long time
compared to the others, and it also doesn't
really stink, so it's not toxic. You don't have heavy fumes. It's super easy to use. It's basically a 50 percent
of each one of these mixed together and stirred
and pour it on your piece. This gives you a really thick high gloss coating
to your piece, which I love that finish. I use the art resin for
quite a bit of things. This is my favorite finish. Now that being said, this finish is not necessarily recommended to use on canvas. If you're using these very
heavy canvases like yours, you need to be
using on the pours. Then you're probably okay because I do see a lot
of artists use this on their canvas pieces, but it really does need to be
the artist quality canvas. It doesn't need to be the cheap economy canvas
that's really pliable. It's the kind where you would
pour this paint on there, and it would dip to
the middle while your resin is going to
dip to the middle too. This is a really strong surface, but it's not completely flat. It moves a little bit, and you'd be okay to do the
art resin on that as long as that piece is going to hang on the wall and never
be touched, maybe. But it really is recommended
for pieces that are on cradle board or hard
surfaces more than anything. But if you've used a really
nice quality canvas, I do see a lot of artists
put the resin pour on the canvas pieces and not really have any
trouble out of that. Another option there for
finishing our pieces. So I hope that gives you
a lot of options for things that you might consider because we've
got the cold wax, we've got the spray varnishes, we've got the brush on varnish, we've got the resin, or you can leave it
just like it is. A lot of different options there for finishing your pieces. One last thing I need to mention that I didn't
mention already for finishing your
pieces is if you're using the silicone oils
in any of your pieces, in any of your paint
colors to create cells, there is the likelihood that
some of the silicone residue is sitting on the top of
the paint as it dried, and it's just sitting
on top of there. You're going to need
to clean that paint off before you can put any of those finishes on
top of the paint because the silicone will repel
those different finishes. If you've used any
of the silicone oil, then you need to clean it, and you can do that with a really high-quality
isopropyl alcohol. I've got 91 percent, and you just put
that on a cloth, and you go ahead and clean
the whole top of that piece. You can also do that with
dawn dish-washing soap. If you don't mind putting a little soap on here and
washing that down really well. You can also do it
with something like a Windex glass cleaner, squirt that on and with a
cotton cloth, clean that off. Then if you go to put
a finish on there, and it's being
repelled in any way, then you know, you didn't
get the silicone off. That is simply going to take a little practice
on your part to see how much and how long
you got to scrub that. It may be very easy
depending on what you use, or it may take a minute
or two depending on the product you're trying to
get the silicone off with. Then at the art store, I think they lied to me, but they said these don't
really mar the surface. Don't sit on top, but I
don't really believe that. I think the girl was young and didn't know what she
was talking about. Everything else that you'll ever research on this says
you've got to clean that silicone oil residue off the top or the
finished won't stick. You can do that with alcohol
or Windex pretty easily. Just a little side note in case you started finishing one, and it was repelling
the finish, that's why. All right, I'll see
you back in class.
37. Creating jewelry with acrylic skins: In this video, I'm
going to take a look at supplies for making
little jewelry pieces. Then once we get our
supplies talked about, I'll zoom in and actually
create a piece of jewelry for us out of our leftover paint and
some jewelry supplies. This is what our paint
drop-off looks like. It's a paint on our
wax paper and I do these on wax paper
so that I can then peel this paint off
of the wax paper and have a little skin
of acrylic paint. Here we go here's one
that's peeling off. Paint does need to be dry. Once you peel this
off of your paper, this is an acrylic skin. We're going to use the skins
for our piece of jewelry. We'll just find a very
interesting skin, a little piece
right here that we think is the most interesting. That's what we'll peel off
our paper for our skin. We're going to make jewelry
out of acrylic skins+. This is all costume jewelry
quality stuff I would say, but it's the easiest
for you to get a hold of as just a
regular consumer. You could also order sterling silver supplies
if you want to get on some of the jewelry
suppliers' websites, you can order bezels
and products in sterling and possibly
go, I don't know. I haven't looked for it because
gold's so expensive now. But there's a couple of different options
that I have sitting here did not all come
from the same place. The very first option is
from the craft store. Here's one that I
haven't opened. These came from
Michael's and it has bezels made of plastic
in a package like this. This is the very top
coat to your piece. Then they had little
inexpensive bezels that are the back
part to your piece, the actual piece of jewelry. We're going to put the skin and the circle and then stick one of these round things on top of the skin to make
our finished piece. Now, I do not actually like
these because I made one. I did not like the way it
looked when I was finished, it was hard to get
my circle cut nice. Then, when I got
it all stuck in, the bezel sits below the lip. The sticker piece here, the top coating sits below
the lip of the bezel, which looks super cheap to me. I don't like this at all but
if you like it and you're just making some pieces for
yourself or costume jewelry, it's a nice option. You can get these
at the craft store now, and they're cheap. You can get three
bezels for three bucks. I think this was
another $3 or $4, so very, very inexpensive. Now, the thing that
I would use to, because you're going to
have to glue your piece of acrylic paint
into your bezel. What I would do there is use
the E6000 clear adhesive, a dot of glue here, stick your paint piece in here, and then these are
sticky already, so you would just stick it
right on top and you're done. That's one option. It
is the least expensive. You can get these
at the craft store. Currently, it's a
brand new thing in their little
bead-finding area. It looks okay, but it's
not my favorite but it is inexpensive and it's
fun. That's one option. Another option is to get on Amazon and you can order a
whole package of 20 bezels. What I like about these is there's lots of different
shapes and patterns. Look how pretty that
one is with flowers. There's lots of pretty
choices there to make some cool necklaces.
That one's real pretty. Now, these, they didn't have the bezels in the same
listing that I was using, so I don't know what size
that bezel piece would be. You can't get this cheap one because the big one is too big. Actually, that medium-sized
looks like it would fit if you get these cheap ones
from the craft store. That's one option. I also have bezels from another company that I'm going to show you
here in a second. I'm not sure they're
the right size, but they may be. Let me see. I definitely like using the
bezels because they're easy. But another option
that you can do there is you can
take the ArtResin. Mix up a very tiny
amount of ArtResin. Those bit good. This is the one-inch
glass round. These are one-inch spots. I'm so excited
those fit because I really like how
pretty these are. One-inch glass rounds
if you go with this fun little
20-pack from Amazon. But look at me, here's
all the snowflakes. These are really fun. Then, from this other company, I also have inexpensive
costume jewelry necklaces. I can very easily make
necklaces out of all of these. He sold 10 packs of necklaces, only cost eight bucks. It's a 24-inch Rolo chain and there's 10 in there so at eight bucks that makes
it about $0.80 a chain. You could give a gift to everybody at Christmas
that you know. This 20-pack from Amazon, I'll give you a link to that. The third option I have
for pretty bezels and stuff are because I
went to a bead show. I love owls and they were doing something fun with a
picture in the owls. I was like, well, I need all
of this and so I actually got all the fun little
supplies at the bead show. This is from a company
called craftfantastic.com. You can go to their website now because even
though I got these like two years ago and I've
never looked at them again. I'm so glad I had it
because now I can show you all the fun stuff that I got
to use with this project. Sometimes I hoard things and I don't know why
I'm hoarding them until something like this
comes up and I'm inspired. But this, you can still go to craftfantastic.com and you can get all of these supplies, they are all still available. What I love is the
fantastic glaze and glue. This is what we're
going to use to glue our piece of glass
onto our paint. I love these little
jewelry stickers. We're going to put a sticker
in the base of our bezel, whichever one we pick, then we can stick
our glass piece right to it and we're all done. This really is the easiest way to make some really
cool jewelry. Here's one that I
already made in one of these owls with a piece
of my acrylic skin. Look how beautiful that is. I love owls, so I
can't wait to do all these up in different
pretty little skins. What I like about these is you
can make a necklace out of them because it's got
a little hole here. You can get these
little pinch bails and you could put a bail on it, and then it's ready to be
a charm on a necklace. The other thing that I
like is that they have little key chains and you can attach your owl
to a key chain. That key chain can
have a little clip. You've got little key chain. Key chains would be
a super cool gift to give out at, say, the holidays, or just to have for yourself
on your key chain. I love these, these
are super fun. This is actually my
most favorite route. I do like the 20-pack with the glass bezels that came
from Craft Fantastic. I do not like the
bezels that came from Michael's because they're not
very thick and they bend. When I go to cut my piece of
acrylic paint off of here, when I tried to
cut around these, I accidentally was cutting
the bezel itself or as these bezels pieces are glass. It was super easy to
cut around this and get a perfect piece to
stick into my setting. Some different options
that we've got there. I'll give you links
to all these, to this set and this craft fantastic, these I just
got at the Michaels. I'm going to go ahead
and zoom in and show you how to make one of
these pieces so easy, you're not even going to
believe it. I'll be right back. Let's go ahead and
make a piece of this. I've got my little
jewelry dots out and this is a fantastic jewelers dots from the craft
fantastic company, and these are supposed to be
permanent when you use them. They're non-toxic.
They're acid-free. So that is what I'm using. I also have my
one-inch glass rounds and they come a pack of 10 and
they were like four bucks, so I like that and
these are actually real glass pieces and
they're nice and thick. I like the thickness. Then, I've also got one
of my Amazon pieces and one of the pieces from the craft company and the owl because I liked the
way the owls turnout and I like how the belly is nice and fat and you get that on there. It just looks like
a nice quality. Then, we can make that
into a necklace or a key chain or whatever
it is that we'd like. Then, I'm using the glue
for the top so that it's perfectly clear with
no bubbles and it is the glue and glaze
and I'll show you in just a moment how
we're using that. First of all, you need to find a piece of the skin that you love and you need to get the plastic off of
the back and that, it's like the hardest
part depending on how easy this stuff
wants to come off. Some pieces, it's come right
off very easily for me, and this one is being a little
more stubborn but I have already pulled some of the paper off of the
section that I want to use. But you basically have to
get rid of the wax paper. You can't just leave the
wax paper on there for the most part because if
I can separate it now, by pulling it off, then it's possible
that the wax paper will separate from
your piece later. But I did get a big
enough piece off of this section right here. I'm real careful not to pull and stretch my piece of acrylic because actually want to use this piece right here. What you can do is take
your pretty little piece of glass and move it
around until you think, okay, I like that right there. Then what we're going
to do is go ahead and glue the glass to the
piece that we like. Just take the lid off of here. We're going to put
just a little dab of glue right onto
our piece of glass. It doesn't matter
if it spills out a little bit. But
about that much glue. I'm going to flip
it over right onto my piece of acrylic
and I'm going to press that down
with my finger. You can reposition it for
a moment while you're doing that because the glue
stays wet for a little bit. What I really like
about this is it's not like you got to let
it sit overnight. This will dry fairly
quickly on there for us. Then, we'll be able
to take a pair of scissors and just cut
right around that piece. I'm going to get a
little bit of that glue. There we go, just to make
it easier when I'm cutting. It's almost dry, I can fill
it now. It's getting there. You only got to let that sit for a couple of minutes but I'm on a flat surface and
I'm pressing it down and it's getting
all my air bubbles out so that it's
nice and perfect. Then, I'm actually
going to go ahead and cut this piece right off
of my bigger skin here. If you're using silicone mats, this paint comes right off
of that really easily. There's our piece
that I'm going to set into a piece of jewelry, and after it's set enough where I can feel it not
really moving around anymore, I'm going to just take my
heavy-duty craft scissors and cut around the piece of glass and I'm just using this
piece of glass as my guide. This is one reason why I like these glass pieces rather than the plastic pieces I got
from the craft store because cutting around
the glass was much easier than cutting around the
piece of plastic that I was accidentally cutting
at the same time. You just get it
nice and round and cut just like that.
That was super easy. Then, we're going to
pick whichever bezel that we're going to set this in. I'm going to make a
necklace out of this. I'm using one of my
ones from Amazon. You just peel a glue
dot and stick it right in the center and then
press that down really good. Then, once you've
got that press down, just peel the orange
top right off of that because it's a
two-sided sticky thing. Now you're ready
to decide this up, so which way do we want
our final pattern to be, and then you stick that down
really good, just like that. Then you want to just
let that sit and dry for the rest of the
day and you're done. That is a completely
finished piece of jewelry ready-to-wear or give away or do something
with and look how beautiful and professional
and finished it looks. That was super fun. I'm going to go get
another skin and maybe we'll make one more,
so I'll be right back. I went and got a purple for
another piece that I did. This one is actually
a little bit easier. I'm actually grabbing it
from this side here and look how easy that is pulling
right off of my wax paper. Some of these are
definitely easier than others and at the same time I'm being real careful to be gentle because I don't want
to stretch that out too far. Then I might just go ahead and cut this piece out of here. You see it's completely
separated from the wax paper. You definitely don't want to leave the wax paper
on the back of these because they may
not last if you do. Got that. Let's go ahead
and get our glass piece. I thought I had another
one sitting out here. It's hiding from me.
Oh, there it is. We're just going to decide
what part of that do we love. Some of these have
much cooler patterns than others so I like
that piece right there. I'm actually going to put that a little bit of
glue here on here. Just a nice dab. We're going to go for
this section right here. Just press that down
so that glue gets to the very edge and you
get any air bubbles out. Then let that setup for
just a few seconds, like 30 seconds and
I can go and cut around this piece and you
can let it dry for a while. You don't have to
do it immediately but since I'm filming this, I want to get it
set up just enough so I can cut this
without it moving on us. Then will cut around the edges. If you get glue
on your scissors, you definitely want to get
the glue off pretty quickly because glue will
ruin your scissors. If you get glue
on your scissors, go ahead with a paper towel and get any of that
residue back off. Then, if you've got any of the glue that got on
your glass piece, you can definitely get that
back off pretty quickly. Then let's just make an owl
because I love the owls. I'm going to take a glue dot. Just stick it right
in the center. Peel that write-off. I can use the jeweler's
glue on the back side too. If I didn't want the glue dot, I could put a dot of glue there instead and do it just
like I did this and that would be just fine also but I think the glue
dots make it so much easier. Once you get that,
go ahead and decide which way you want this
to go in the belly. Then press it nice and firm
when you get it in there. See and I just love
how beautiful that great big dome makes that look so much nicer
when it's thicker. I think thicker things
look more expensive. There we go. We have two little
owls. How fun is that? We have a beautiful piece that we made for necklace. I can definitely just
string this right onto a necklace and that
one is ready to wear. Some of these you
might even find some little rings to make some pretty
little rings out of. You might try that but
look how pretty that is. That's definitely a fun
piece to be wearing. Then when somebody says,
where did you get that? You can be like that's
my custom one-of-a-kind piece of art that I made. I hope you enjoyed how
easy these were to do. I hope I made it super
simple for you to make a few really fun costume
pieces of jewelry with your one-of-a-kind skins, and I will see you
back in class.