Acrylic Pours Workshop | DENISE LOVE | Skillshare
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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Welcome

      2:43

    • 2.

      Supplies

      22:11

    • 3.

      Keeping an Art Journal

      7:34

    • 4.

      Priming your surfaces

      4:10

    • 5.

      Mixing our paints

      13:59

    • 6.

      Paint Disposal

      3:55

    • 7.

      Acrylic pour Fire Safety

      5:17

    • 8.

      Red & Blue Dirty pour

      9:48

    • 9.

      Stripe Drag pour

      8:46

    • 10.

      Straight pour in greens

      11:33

    • 11.

      Large pull over white blue orange piece

      18:42

    • 12.

      Swirl and tip pour

      16:31

    • 13.

      Air Blowing with hair dryer & straw

      7:58

    • 14.

      Air Blowing with air compressor

      6:37

    • 15.

      Air Blowing with hair dryer

      4:57

    • 16.

      Blue & Pink Blow pour

      9:25

    • 17.

      Blue & Orange Blow pour

      6:10

    • 18.

      Strainer pour black & yellow

      7:22

    • 19.

      Doing a pour no cells using strainers

      8:25

    • 20.

      Puddle Pour yellow and purple

      8:51

    • 21.

      Dirty pour and drag cup

      12:44

    • 22.

      Multiple puddles

      10:22

    • 23.

      Dirty pour with left over paint

      6:16

    • 24.

      Doing Dip pour and dirty pour

      12:54

    • 25.

      Dirty pour with left over paint

      10:33

    • 26.

      What not to do- don't touch

      2:18

    • 27.

      Pour Over a damaged piece

      11:37

    • 28.

      Advanced silicone techniques

      13:46

    • 29.

      Working in a series

      4:43

    • 30.

      Blue & Orange Series

      22:52

    • 31.

      Blue, Yellow & Orange Series

      19:22

    • 32.

      Keeping the back clean

      2:19

    • 33.

      Cell Comparison

      3:20

    • 34.

      How different surfaces performed

      8:16

    • 35.

      Using Paint Pens

      3:32

    • 36.

      Finishing your painting

      10:00

    • 37.

      Creating jewelry with acrylic skins

      18:58

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About This Class

Welcome! I’m so excited to bring you this workshop on doing Acrylic Pours to create beautiful abstract pieces. I am pretty excited about the projects we have in this workshop and I cannot wait to see the art you end up creating!

Who is this workshop good for? Artists and any creatives – who want to learn how these acrylic pour art pieces are created.

Have you seen other people producing some beautiful acrylic pours art and wanted to know how they did it? Seeing pieces being made that really WOW you? I absolutely love the organic looks and beautiful patterns this technique creates. Come with me and discover how to create some beautiful one-of-a-kind art for yourself.

Your workshop includes over 6 hours of video. In this workshop, I have tons of projects we do so you’ll get really comfortable with the methods and supplies. 

In this workshop we will go over the basics and more:

  • We’ll go over a comprehensive list of supplies and a variety of different price ranges you might consider for your pieces.
  • I’ll show you how I keep track of the colors and results I get so I can revisit colorways I loved.
  • We’ll talk about priming your surfaces and the differences you get if you choose a white surface vs. a black surface to start with.
  • I’ll show you how I mix my paints using several different pour mediums.
  • We’ll talk about paint disposal – hint: you don’t use your sink to dispose of your paints.
  • I’ll go over safe ways to use a torch and fire safety – since you will be possible using a small torch to coax your paint to create pretty cells and pop any air bubbles.
  • I’ll cover a TON of different pouring techniques and tools.
  • I’ll talk about what not to do with your piece the very next day.
  • I’ll show you how to pour over pieces you don’t love.
  • I’ll show you some advanced cell creating techniques.
  • We’ll talk about working in a series and I do 2 series in this workshop.
  • I’ll show you how I keep the back of my pieces paint-free.
  • I’ll show you some fun comparisons of how different mediums perform for creating those beautiful color cells.
  • I’ll show you how some different surfaces performed after they had paint poured on them so you can choose what you wish to experiment with for yourself.
  • I’ll show you some different methods for finishing off your pieces when they are finished and dry.
  • AND… I’ll show you how I create some beautiful jewelry pieces to wear using the drop-off paint from your pieces.

When I say this workshop is PACKED FULL… I’m not kidding. I can’t wait to see you in class!

** Disclaimer: The content of this workshop is not intended for the use of persons under the age of 18. We are working with art materials and heat sources that should only be used by adults or under the close supervision of an adult. The use of all the materials including fire is at the risk of the user. Proper care and attention should be exercised at all times. Denise Love and 2 Lil’ Owls Studio may not be held liable for any and all injury, loss, and accidents sustained as a result of this course, its content, and methods demonstrated here. All users are encouraged to read and use individual manufactures' use and care instructions that accompany any and all materials and tools.

Meet Your Teacher

Teacher Profile Image

DENISE LOVE

Artist & Creative Educator

Top Teacher

Hello, my friend!

I'm Denise - an artist, photographer, and creator of digital resources and inspiring workshops. My life's work revolves around a deep passion for art and the creative process. Over the years, I've explored countless mediums and techniques, from the fluid strokes of paint to the precision of photography and the limitless possibilities of digital tools.

For me, creativity is more than just making art - it's about pushing boundaries, experimenting fearlessly, and discovering new ways to express what's in my heart.

Sharing this journey is one of my greatest joys. Through my workshops and classes, I've dedicated myself to helping others unlock their artistic potential, embrace their unique vision, and find joy in the process of creating. I belie... See full profile

Level: Beginner

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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.