Transcripts
1. Hello!: Hi everyone, and a very, very warm welcome to all of you, to my fourth Skillshare class. I'm extremely grateful to all of my returning students and a force and super excited to meet new ones. My name is ready and I am a multi-disciplinary artist and an art educator currently living in New Delhi, India. I love traveling across the world and conducting workshops are various genres. Apart from this, I also own a creative brand called Rodrigo, where I sell handmade home decor products, jewelry, original painting surface design, friends, and a lot of other cool artsy products. One, I love working with different mediums. I have a special corner in my heart for acrylic boring. There is something about these flowing liquids and beautiful cells popping up on the canvas that simply make my heart skipped a beat every time I see these paintings. And of course, the feeling of wet paint on my hands is so, so, so satisfying. In this course, we will be covering the basics of acrylic boring, right from the materials that you need to, how you can actually finish off the painting for sale. We will be working with the flip cup technique, which is a beginner friendly technique. It's simple, but it's super exciting. This is actually the easiest technique to get started with if you're new to the world of the credit scoring. So let's hit enroll and I'll see you in the next lesson.
2. What is Acrylic Pouring?: So before we jump onto the supplies that you will need to take this class, I want to talk a little bit about what acrylic borane is all about. So it's very common for people do refer to acrylic boring as liquid art or fluid art on the internet. And you will see these terms being used interchangeably. But in reality, acrylic pouring is just type of fluid art or liquid odd. Liquid art is basically sort of like an umbrella term, which is a broader term that has three different types of art forms under it. Acrylic pouring is one of them. The other two being resin, which is done using epoxy resin and alcohol ink card, which has the name suggests, is done using alcohol inks. So technically speaking, alcohol inks out a form of liquid. Similarly, resin is a type of liquid. And when you're doing acrylic pouring, since you're boring it, you're converting it into a liquid. So technically speaking, all three of these art forms are liquid art. Now, we are going to be working with acrylic pouring today. Now, acrylic pouring, as the name suggests, is basically a technique in which we are using acrylic things flowing manner. So we basically convert them into fluids off a certain consistency. And so when they are put together on Canvas to create these beautiful interesting patterns or motifs. And we have these little things called cells would start popping up. And so our focus is going to be learning about this particular technique. Now, there are multiple ways in which you can do acrylic pouring. So there's a flip cup technique is a model for there's electronic boring with the hub or low drying it. So there are many different ways that you can do it. My intention in this particular course is to introduce you to the flip cup technique, which is one of the easiest techniques to get started with. And once you get a hang of this technique and understand how the beams mix or how the medieval sort of blend with each other and how they work with each other. You will be in a good position to dry out the other techniques as well. So let's get started by understanding the mental rules in the next lesson. And then we'll go ahead further.
3. Supplies Required: Alright, so let's get started with the supplies that you will need to create acrylic bore paintings. First things first, we obviously need a canvas. Now the Canvas can be stretched canvas, which is basically Canvas clot, which is stretched over a wooden stretcher bars. And you can use this easily because it's easy to hang. You don't need any kind of mechanism behind in terms of the holes for the kneels to hang them or you don't need any other kinds of fixtures are attachments. So these are easy to work with. If that's not an option which is available to you, then the next best option that you have is to use mount boards or mounted canvases, we call them. So these are basically Canvas boards which have strong backing. It's usually kind of like a cardboard or within MDF backing on which the Canvas cloth is kind of pasted over seamlessly. So these are pretty good to work as well. Now one of the things that you want to be really careful about before you purchase your canvases is to check for their quality so that they're not sagging in the center. So every time the canvas is actually, especially if you're buying stretched canvasses. Every time the Canvas cloth is actually stretched on top of the stretcher bars. We expect the supplier or the company that's doing this for you, or if it's a local carpenter that's doing it for you, we expect them to kind of make it nice and tight. But if you see a little bit or for fabric sort of hanging or sagging a little bit in the center. Then that's a problem that we need to avoid because we are basically working with liquids. And so what happens is that when we looked up again was to kind of tilted around, the liquid can start to pool in the center. It can actually form a little puddle in the center. Which basically means that your entire palm position gets pulled towards the center. And it kind of ruins those cells that we're going to be developing as we go into it further. So our goal over here is to look for canvas which is nicely stretched on the edges. And it does not have any sagging element in the center. And of course, if you're using using a mounted Canvas, then this problem, what happened? Because these usually with the Canvas clot kind of pasted over the board. So this usually doesn't happen, but you'll still want to just check for any inconsistency is over there. The other options that you have available with you are, of course, artists would manuals which are easily available anywhere in the world if you're in the US. And then you usually have stores like Michaels or I've heard about stores like Hobby Lobby or any kind of art stores would usually have these these artists manuals. And I'm sure it's the same for other other countries in the world as well. And these panels come in different sizes so you can pick a size that you like. For this class, I would recommend you to start off with something that you can maneuver easily. So I would probably not ask you to go beyond, let's say, 12 by 12 inches square. Or probably you could maybe go up to 20 by 20 if if you feel confident enough. But if this is your first time doing this, then I wouldn't recommend you to go any higher than that because you kinda wanna get used to tilting the canvas and kind of getting used to the weight of the canvas and how the paints flow, how to control them. And so just to save on the disappointments, I would recommend you to start small and then go big as you gain practice. Okay, So these are the different options that you can work on. One of the other options that's also available is MDF panels. If you don't have wooden panels available to you, then MDF is also a great option that you can use. You may try other surfaces is will. People have always asked me we could do this on a metal surface. And most of the times it's not a problem unless it's a metal which actively react so with the field and changes the color of the paint in the long run, which is basically metal, which is not kind of coated with any kind of finishing, then it's a bit of a problem. But usually if you're using something like a tree which is made out of stainless steel or something like that. This should easily work on top of that. And speaking of that, also feed to do this on a tree. So there are options for you to try out this whole technique that we're doing on a tree or even on a Costco. Or you could even do this on a circular panel and converted into a clock later on. So there are options for you to play around with when it comes to the substrates. I do have ever wanted to take a moment and tell you about priming your surfaces. Now when you're using a canvas which is available to use straight from the art store. Most of the times, especially these days, the stretched canvases are pre-programmed. So that will also, what that basically means is that We're ready to start painting on them directly and you don't really need to do any additional steps. And the label would always see that they are primed. However, if you are buying canvases which are probably a little cheaper, and very few stores actually have them these days because usually artists just prefer buying prime dinosaurs now. But if you do find some stores which have canvases that are not primed, then it's important to layer them, at least with a, with a couple of layers of just sold, which is basically a primer. And just sows are basically universal primers so that they can kind of be used on any kind of sofas. So if you're using an unprimed canvas and MDF board, a wooden board, any kind of substrate which is basically made out of wood or MDF. It's very important to give them at least a couple of quotes of gestural. Just so does two things. Number 1, it primes the surface and it keeps it ready for you to actually put your paint on. And so it kind of acts like a binding layer between the beam and the substrate itself. And the second thing that just so does is that it helps Europeans to show their true west colors or they treat the two saturation and hue of every color kind of shows up. Better. Gestures are actually available in two colors. You can either use a white gesso or a black, just so I usually end up using white as the primer on most of us have straights. And so you can take this from any good brand. Most brands that make acrylic paints would also be making gestures. So there's a high chance that you will go to find adjacent the same grandest, the paints that you're using. But honestly speaking, any good gestural brand is, is okay. It doesn't matter if your brand is different from the gestural brand new. It doesn't matter at all. So just that and you can use the student grade jostles. Since we're just using these to prime the surfaces, they don't really need to be very expensive. And yeah, that's about it. So now let's move on to the next set of requirements. So now in terms of the themes for this particular project, I will be working with shades of blue. Now, in this particular course, I will be working on two separate projects. One is going to be in the shade, some blues and the other one is going to be slightly more renewable inspired. So for project number 1, I'm going to be working with an ultramarine blue. Then I'm going to be working with a Bowman and blue light. And you can see that I use my cubes quite a bit and they kind of have been even on the name, the label, but I showed you that's blue. And then the titanium white, which is also kind of pretty dirty right now. And I usually like to have a little bit of metallics in my buildings. So for, for that I'm going to be using a gold. Now, all of these paints that I've just mentioned are basically from the brand camel, which is easily available in India. And these are pretty good quality pins. But if you want to try other brands, then I definitely have had good experiences with a liquid x. And I've also had good experience with data around it. So these are some of the brands that are available worldwide pretty easily and I have not had any issues with them. Some people have asked me if the folk art being works and honestly there's no problem using those if you're just a beginner. But personally for me, I have noticed them to be slightly thinner inconsistency as compared to the other beams. Which means then when I add that, when I actually start to add my boring medium onto them, the composition or the consistency is not to my liking. It does not mean that you might not like it. You can obviously go ahead and experiment with those if that's what you prefer. But this is a brand that I usually don't use so much in my acrylic boring. I do use it for other things, but not so much in this technique. So that's for the themes. Now coming to the medium. The medium is obviously the most important part. And so even though it might seem a little pricing in the beginning, I assure you that a good quality medium goes a long way in ensuring that your painting is just the way you want it to be. So I usually use either the liquid exporting medium or I use this brand which is easily available to me in India, which is Bruce draw, boring medium. Both of these boring mediums are really, really good. You can also try boring mediums of other brands which are locally available to you. And if you trust the quality, I'm sure they'll be good. One word of caution though, try to look for a boring medium in a smaller bottle. So that you can do a little bit of testing before you actually buy the bigger bottles so that you're definitely sure of the quality and make sure that you do like smaller pieces before you do a larger one. Smaller test pieces kind of give you like a good idea of what the eventual building is going to look like. Alright, so the next thing that we're going to need is some cups. Now you can use paper cups or plastic cups or anything else which is easily available to you. Personally speaking, I don't like using paper cups or Lord, that is, I feel that there's a lot of wastage and these are not really good for the environment in terms of collecting a lot of the wrist, especially they're not biodegradable. So I usually use the little silicone cups that we get for baking muffins or cupcakes. And the good thing about silicone cups is that when the paint dries, the leftover paint dries on them, I can actually feel it off the next day and the copies as good as new and I can reuse it. And so basically it reduces the wastage. However, most of these silicone cups actually come in colors, and so it's a little hard on the camera to show the exact column mixes that I'm doing and to show you the consistency on camera. So purely for that reason, I have chosen to use these white paper cups so that it's a little easier for me to show you the details on camera. So that's that you will need about seven to eight on an average. But honestly, the number of cups actually depends on the number of colors that you are planning to use in your painting. Plus like a couple of extras. So that's for that. Then the next thing that we definitely need is going to be something to mix thes and the beans with. And so that's where stirring sticks are really, really important. So stirring stakes are again, available very easily at any store. Hobby Lobby Michaels. If you're in India, it's easily available on Amazon or anywhere else you need these popsicle sticks can also do the job just fine. However, again, in the interest of keeping everything and I'm in friendly and to try and reduce wastage, I again use silicon Sterling sticks, plenty for the reason that I can actually build off the pain the next day and then the sticks are usable again. I also use the sticks for like my resin art and other work. So I've had like one set of 10 sticks for as long as I can remember. And they're still pretty handy, so I keep reusing them. So this is definitely a good investment. Now, however, silicon sticks are again transparent, and so sometimes it's a little hard to show the colors on camera. So I'm going to be using a mix of silicon sticks and popsicle sticks as we go along in the class for you to see stuff better on camera. All right, the next thing that we're going to need is an additive, and this editor is basically going to be silicone oil. Now, silicone oil is usually available at hardware stores pretty easily. And this is actually used for a bunch of things. The most common thing that I've usually seen at four is kind of like trying to, I think on some screws or hinges on doors and windows. I think that's what it's used for most commonly, or at least I've seen it being used for that. But there are many other reasons why silicone oil is used frequently in the hardware industry. And so the one that I have with me is something that I bought off Amazon. It actually says professional oil for acrylic boring specifically. But to be honest, I've worked like these oils from hardware stores as well of different brands and have luckily found any difference between the qualities of this one and that one. So I guess it's all the same. It's just the packaging which has different. So you could just buy whichever is available to you easily and locally. And so that's for that. Now, the last thing that you will need is hairdryer or a blue dot h. Now, basically, a blowtorch for me personally is slightly little advanced for paintings like these. Because if you're not, if you're just a beginner and if you're not trained enough to handle it, it can lead to a lot of like extra burning or, you know, there's a lot of complications in terms of refilling it and stuff like that, which is, which kind of adds to the whole pressure and it takes away from the joy of creating these intuitive paintings. So I personally don't use them so much. But if this is something which is easily available to you and you feel that you don't want to add on the expense of getting like a separate instrument and go ahead and use the Plutarch if that's what's easily available. And we'll talk about how they use it. A little more, sort of. Easily or how we can kind of use it a little more carefully when we're working on the project. So what I basically use is this really low quality sort of hairdryer. It does not even give high amount of heat. It basically gives kind of like a warmish heat. And as you can see, it's pretty used when using it for a really long time. But the amount of heat that it gives is just about perfect so that there is movement in the pinned. But it's not so hot that it kind of dries my paint and cracks it up on the canvas. And it's also not so-called that it doesn't do anything at all. So it's kinda of like Ramesh. So one of the things which I've realized is that if I go to a store and if they give me a hairdryer to test and if it's not hot enough for my hair, like for the actual purpose of it. That means if I would reject it for my hair grooming, then I would give a yes to wait for my painting work. So this is just a low-quality one. But again, I mean, if you have something at home which has different kinds of settings, if you can put it on like a 0, 1, 2, or you can power up and power down, then I guess that hairdryers should work as well. Otherwise, you can use whatever you have with you and we'll just compensate for the heat by by distancing the hairdryer from the Canvas. So that's always a possibility that we can work with. And so, yes, that's pretty much it for most of the tools except for one last thing which is a weighing scale. The weighing scale is nothing fancy. This is something again that I bought from Amazon. It's probably not more than about eight or $9 or something and it's not very expensive. So this is something which is easily available on Amazon or you might probably have like a genuine scale that you can use. And the reason why I specifically like to use it is because like I said, if you're a beginner, you might find boring medium and some of the other things to be a little expensive in the beginning, if this is just a hobby, Do you? So you don't want to waste so much of it. There are, of course, these beautiful videos, all of the Internet where you see being kind of just like pouring down in flake like waterfall. And I kind of, I kind of feel that that's a little hard on beginner artists because they might not be able to do that. Over the years, I have developed a technique which reduces wastage and CVS, the composition on the canvas itself. So I kind of like to measure out exactly how much boarding medium I will need and then work with it with just a little bit extra if needed. And then work with that to avoid wastage basically. So that's the reason why I have a wink skill. And as I've been talking to you, you've obviously seen me wearing these latex gloves, which is basically to protect my hands. This is honestly optional because I know that there are other people out there just like me who like the feeling of absolutely wet paint on their hands. But over the years, I've realized that the beam can really get under your nails and on your clothes and urine there and when are so especially if you have to immediately go cooking after this, you would want to keep your hands clean. So with a heavy heart, I have learned how to wear gloves and work with them. And I would encourage however, I would encourage everybody to wear gloves. Because you never know what kind of allergic reaction the band or the silicone oil might give. And so just to be on the safe side and to keep your hands clean and do just have like decent hands after your painting session, it's kind of a good idea to wear the gloves as well. Alright, so this is all for the suppliers. I have also listed all of the supplies in a document and put them in the resource section in case you want to use it as a checklist. When you go to the art store next time to buy all of your supplies. To be honest, most of this should be available on Amazon, but just in case something is not, it should definitely be available at a local art store. Okay, So that's it. And I will see you in the next lesson where we will learn about how to measure and mix your boring medium with pins.
4. Let's Get Mixing!: Okay, So let's get mixing. So all we have our materials ready with us. And the next step is to just get right into it and start painting and you don't start getting the stuff ready. So we're going to work on this surface that I've shown you audio, which is basically my DB2. And I have my Canvas and all the supplies over here. Now, just a word of caution before we get started. Acrylic boring can become pretty messy pretty quickly. So what we want to basically do is make sure that your table is covered with like a plastic sheet or anything else that you feel sort of covering the surface nicely for you. Maybe it could be all newspapers or literally anything that you feel is extra in your house and you can use it to cover the surfaces. Some people actually like to cover their floors as well with an ice sheet of plastic or anything else. It could be an old bed sheet lying around or anything else, which can protect your floors, especially the nice hardwood floors. You obviously don't wanna get any pain stand on them. So it's a good idea to just covered everything and make sure that everything is protected. If you have any chair or any other pieces of furniture that are lying around and you feel that the paint might just splatter or splash over them. Just be a little careful and cover everything. Okay, so now this is my fancy, pretty old weighing scale that I've shown you earlier. It's basically a kitchen weighing scale, nothing much. And available pretty cheaply on Amazon. So most of the wings scales have similar buttons, but I'm going to just walk you through the steps. So in case the buttons are slightly different on yours will still be able to follow along just fine. Now, whenever you put like an empty cup onto the, onto the wing scale, the cup itself has a standard amount of wheat. Now, if I press the on button and I kind of place the cup directly on this, you see that the cup has about six grams of weight already, which kind of messes with the calculation. So what the tear button does is that it sets the wheat to 0 after the suite has been deducted. So what that basically means is that if I remove the cup and the weight is now going to show it as negative six and negative 7 approximately, which was the weight of the cup. And so we wanted to make sure that the weight of the GOP is not included in the final calculation that we are doing right now. So the best way to do that is to make sure that you are placing your GAAP on do the weighing scale and then pressing the on button. So at least that's how this machine works. So you placed a couple of a hill and you press the on button. And when you do that, it starts from 0 directly, which means it disregards the weight of the paper cup that's already on to the surface. But if you feel that your wings scales slightly different and when you press that one button with the cup already on it and it's still showing a certain amount of wheat, then you should have either a reset button or a tear button, which can bring it back to 0. Okay? Now, as far as this canvas is concerned, this is a 12 by 12 inches square canvas. So if I multiply this, this is basically going to give me a 144 inches, right? So 12, 12, 12 is a 144 inches. So or we can refer to this as 1 square foot. So now this can get pretty technical if you are working with other kinds of liquids where you actually need to build the thickness, like for example, epoxy resin. But when it comes to like relic voting, we are actually looking at one single layer of the acrylic bore on the Canvas, right? So probably not going to go any thicker than one MM. In fact, one of them is also pretty take actually. So it's probably going to be a lesser number than one MM as well. So it's just gonna be one single layer. So the easiest way to calculate this is multiply the length of your canvas into the width or the breadth, and take that much boring medium in grams and maybe like about 15 or 20 grams extra than that. So this is a rough calculation which has worked for me over the years to ensure that I don't waste any voting medium. And this works for me very well in most of the techniques that I do. Unless it's a technique where I mean the liquid to deliberately bought off my canvas. In which case I will be taking a lot of extra boring medium. That, that's a technique that we are going to be talking about in the future glasses. So for this particular technique, this calculation kinda works. You take the length into the width of the canvas or the wrath of the canvas, and then just take a little bit extra combat. So what I have done over here is that once my copies on and everything is set to 0, I basically take a large cup and I'm taking my boring medium. And I'm thinking. About a 144. It's a little probably a little hard to see on camera, but you can see the numbers. I guess it's now reached 150. And so I'm gonna take a little bit extra. So about 155 and fees six. Alright. So I've just taken a little bit extra, Not much. And I know that I don't want to have too many extra drips coming off from my bandwidth. So this much fun today should ideally be enough for me. Okay, so now what I'm going to do is I'm going to set aside my wing scale and my large cough. And I'm going to get for small local PBS. And the reason why needful is mockups is because I'm using four different colors of paint. So I'm going to start by digging a little bit of paint in each of the cups. A very important factor in making your painting both at, is the themed do boring medium ratio. That needs to be correct. And this actually depends a little bit on the brands that you're working with, both for the paint as well as the potting medium. But then also congenital ratios which have worked pretty well for me, especially when it comes to liquid exploiting medium or the booster recording medium, which I've shown you over here in my videos. So I usually use of beans too boring. Mixture ratio of about one park of pinned to three parts of the boring medium. And this has worked pretty well for me on most of the paintings that I work with. However, I do have to say that this works well for me only if I'm using these medium body beds. If however, you end up working with heavy body acrylics, let's say you do impasto paintings or heavy gel textural paintings. And you'll have a couple of these heavy body acrylic paints line with you. In that case, seems to be into so heavy, you need extra potting medium to make a tenor. So in that case, it's going to be one part of paint to about six parts of growth of foreign media. So one is to six becomes the ratio. Now these days in the market, because pouring art has become so popular, there are these pre-mixed tin beans which are available, which are also known as boar pants, or fluid acrylics. And so if you're using fluid acrylics, that generally Tino, then medium body beams, which means you need less aborting medium. So in that case, one part of themes to about one part or two parts of foreign medium can work. And this is something that you will have to experiment with in terms of the bean brand. So like I said earlier, for folk art, I have experienced a good painting or a good ratio at about one is to one. So one part feint to one part of the voting medium. Then I've also used fluid acrylics from some other local brands where one part of paint work well with two parts supporting medium. So those kind of work fine for me. However, I still prefer the medium body acrylic VMs. And I choose to work with a ratio of one part beans to do part's boring medium with the medium body acrylics. And this is purely because the more boring medium you have with you, the more interesting effects it's, it's going to create. Your painting looks a lot more interesting. And all those manually or, you know, all those marbled or sell like textures or select motifs that you see in these paintings, which are the characteristic of warping things, they start to appear a lot more easily if your faint ratio is correct. That being said, every bin has a certain pigment which has obeyed of its own like the actual pigment has a wheat. So why it is usually the heaviest in, in, in, in all brands. And so white paint usually is heavier as compared to the other bands. And so it will kind of sink to the bottom or settle down while the other pins will kind of like steel little bit more than the surface. And what we wanna do is we basically want to decide whether you want more white in your beam Dane or more black or whatever other colors you are using. And then kind of build a consistency in such a way that the kind of all feel similar. And we're going to talk about this in just a moment when we start mixing our pins into the body medium. So long story short, I'm going to state who now we've one part of page two. Well, three, bad supporting medium. And with a decent amount of practice, I had been able to eyeball this. So I know that I need just a little bit of lumps of pinned in every cup and then I add the boring medium on top of it. But if you want to be super technical and you want to be super precise about it, you can again go back to the weighing scale and do this over there as well. So that's always an option. Alright, so I've nicely emptied out all my boarding medium from the large cup into the smaller cups. I have written slightly more quantity in my permanent light blue and my ultramarine blue as compared to the white and the board. And that's purely a personal choice because I want to see lesser weight unless a wall in my being done as compared to the blues, I just want hints of golden weight. So if you give that a little lesser, but this is purely a personal choice, you could totally keep all of them equally as well if that's what you prefer. Now, the mixing of the beams into the boring medium is as important to get right as the rest of the things that we've been talking about. So in order to get this right, it's important to start mixing very, very slowly. It's natural for us to start storing in a clockwise or anticlockwise manner. But for the purpose of reducing the bubbles in the cup. It's nice to switch to an infinity motion or like a motion where you're basically writing the number e. It kind of like drawing the infinity symbol in there. And as you do that, you will see the paint and the boring medium getting blended nicely. Now, if you see, if I'm moving this really, really fast, there are more bubbles that are popping up. But if I go slow, then the bubbles won't come as much. And so it's very important to make sure that you go super slow and this, and don't go as fast. It's important to reduce the bubbles in the cup itself. If you have a lot of bubbles in the cup, then eventually it's going to stay on the painting, on the surface of the painting. And as time passes and as you're painting dries, those bubbles are going to dry off and they're going to create these hollow little sort of fit or little sort of dips in the painting which create two like a textural effect. And you don't want that to happen because we want the beam thing to have a super smooth and nice finish. So it's important to reduce these bubbles in the cupboard self. So make sure that you're mixing this super slowly and super nicely. Now for the purpose of keeping these videos a little more productive for you and so that they're more action-oriented. I'm going to speed up the rest of the process and talk you through the steps as we go along. So as you can see, I'm mixing the white now. And again, the white was pretty translucent in the beginning because the paint was at the bottom and the boring medium was at the top. But once you start mixing it nicely, it's all going to become one homogeneous mixture. Scrape off the edges really, really nicely. Use the edges of the mixing state to make sure that you get out all the lumps from the edges as well as the bottom where it might have settled and create a really nice liquid mixture. There is this popular thing in the art community where it's often said that the way you know you've got the correct mix is by lifting up your spatula or your starting stick and letting a thin streak of this paint makes it run down. And if you see running down like a thread, like if it bores down like a nice continuous thread, that means you've got the correct consistency. And so it should almost feel like melted ice cream or like, like warm honey. Honey is kind of like melted or like it's liquidity. Just feel like tin honey or like melted ice cream. So if it's dripping in a continuous thread and it doesn't feel lumpy. If it's, if the drops are coming in a jokey manner, then it's then the consistency is pretty good. I know this is a little hard to sort of translate onto an actionable paying on camera. But I hope that MY giving these references helps you to understand what the consistency should be like. And so now I continue to mix the blues. Now this ultramarine blue to me still feels a little bit more translucent. And like I said, this is all about the pigments and the pigment weeds and stuff. So this doesn't feel like the right consistency. Do me, even though I, physically, when I put the beans, I saw that the ultramarine quantity that was the same as the other colors, but it still doesn't physically feel. Correct. So I've added in a little bit more to bring it to the right consistency and the right color. And so these kind of little tweaks can happen. So if your, if your boarding mixture feels really, really take. You can add a little bit more of the boring medium. If it feels really, really 10, or if it feels a little translucent, add a little bit more of the beam and just adjusted issue. Did you get it to that right consistency, but it feels like melted ice cream. And then finally we do the same thing for the light U1. And I have to say this one more time that even though I have increased the speed of the video here, It's important for you to go super slow and just keep gentle motions. Wally Sterling these and bleeding the mix because the less number of variables you have in the GOP, the better it is on the canvas. Using the infinity motion is the safest way to reduce the bubbles in the cup. And make sure that you scrape the sides vigorously. Back to real-time videos. And so now we have all the four cups of being ready with us. And like I was telling you earlier, you can see these little streaks happening in the boiled cup and that's perfectly fine. That's just the way metallic paints are there. Streaky and colors shifting, so that's perfectly fine. It's just light blink reflections. And you can see that there are bubbles which are coming up to the surface. So these will dissipate in a bit. Now what I'm doing is I'm just adding about three to four drops of silicone oil in the cups that have the gold paint as well as the permanent blue light. Now, there is a logic to using silicone oil, and that's because whenever we are working with oil in the kitchen, for example. And if you've ever done this as a scientific experiment, as a kid in school, you would have obviously notice that oil floats on water, which basically means that it has a floating capability and it doesn't really sink to the bottom. So what happens when we heard is that when you are silicone oil to this paint mix, the colors that you are. This two are going to try to sort of fight to stay on the door. They're going to fight to stay on the surface. Which means that these other colors that you can see trying to sort of struggle to pop up. So when you're trying to create cells, these colors will actually try to come up, right? The ones that you've added the oil do. So that's the logic behind this. So what I usually do is that if I have like, let's say a building where I have four colors, I don't add the oil to more than two colors. Similarly, if I will be ending with six colors, I don't add the oil no more than three colors and 488 fellows, I don't add up to more than four. So generally speaking, um, well, I'm going to put it simply, I don't want the painting to become completely oily and I don't want every color group tried to come on the dog. I want some colors to stay in the background and stay settled. Well, I want some colors to pop out more. So I don't increase the number of themes with oil to the number of bins without oil ratio for more than half. So it's not more than 50 percent. So I keep it at that. And so in this particular case, I already know that white is a very, very heavy pigment. So I know that white is automatically going to try to settle in the background. Plus as I mentioned earlier, I don't want to see it much on maybe ending anyway, I just want hints of it. So I have mixed also that one slightly lesser as compared to the other pins, so I'm not adding the oil do that. Similarly, as far as the blue is concerned, the blue is already because we added a little more extra paint. I know that this is slightly heavier as compared to the light blue and gold. So I know that this beam is also going to try to settle down to the bottom quite a bit because of the pigment density that we had. And I made it also slightly heavier with more paint, right? So this one's gonna go down at the bottom as well. Now, the other colors, which are the light blue and gold. These are going to try to fight to come on top because I've added the silicone oil to them, right? Once you have the silicone oil and V10 obviously mix the oil into the polling medium mixture. Again, very nicely. You don't really have to do this by the clock, but if you want to be super precise about it, I recommend mixing it for approximately like let's say about 60 to 90 seconds. And again, it needs to be mixed in an infinity manner, homogeneous mix. You have to go super slow. You have to scrape the sides and mixed makes sure that the oil is like there are no lumpy or, you know, cells which are floating on top of the cup. And so it's all really nicely mixed into the paint and volume mixing the oil, you will again see this streaks happening in the beam. And that's completely normal because you've added in element, you basically add an additive to the beam mixer. That's completely fine. So we just keep on mixing this. And this is one place where we don't want to be lazy and don't want to like, skip out on the, on the effort that it takes to mix this. Because if you don't mix the oil nicely into the paint mixture, then it's just going to stand alone as an independent entity in certain sections of the painting and the building's going to become like relieves the reward in terms of lumps and gifts. So I'm going to mix this into my goal and my light blue, as I said. And once this is done, we are going to let the pins sit for about a minute or so.
5. Painter's Tape Logic: All right, so before we actually get to the pouring of the painting, I want to take a moment and quickly talk about how you can protect the back of your painting by putting on painters stable with her. Now this is a completely optional step and I'll just show you why. So usually when you bought a painting, what happens over here is that the pain fan of goals over the edges on the sides. And it kind of collects over here on the side like this. So basically it kind of continues the painting or the palm position on the edges. And this is usually quite pretty so some people like the fact that this is going over the sides. So when you look at it from the site, like especially if this is a mounted Canvas and you're hanging it on the wall and you're looking from the side, then a kind of continuous the composition and it looks really pretty. But there's a chance that you might not like this. And if you're the kind of person who likes to have clean edges on the paintings. Then in that case, it's highly recommended that you use a blue painters tape which is easily available. Actually, I think I've seen it in other colors as well, not just blue bird. It's commonly identifiable as the blue tape. But anyway, we're looking for Pinto's step. And so you can just apply the painter's tape on the side. And what that essentially does is that it protects the edges and you can continue working on the surface without damaging the sides of it. This logic also applies to the back of the painting. So as you can see, when you are actually working with the painting, there's a high chance that your fingers are going to get dirty. And as you're lifting and building your Canvas, the back of the painting can also get a little dirty. I personally don't mind it because what I usually do is run a single color on the back. So I would usually ended up with a white or black or something like that. So it kind of goes it up at the back. And sometimes if the drips are Doolittle, then I kind of just let it be that way because it kind of adds to the whole handmade feeling of it. And I like to have these little marks of well me at the back. So these are my little mouse or impressions of the bag and I would like to have them. But if you don't like this, then you're definitely welcome to use the Windows state. As an example. Here's one building which has absolutely nice clean edges. And that's what I had used to be entertained over here. And you can see that the paint has, even though it was dripping, it's not gone all the way to the side because the painter's tape kind of stopped it. And when I built it off, you know, whatever the band was tripping was actually on top of that being done stapes, so it came off the tape and so the edges are pretty clean and quite decent. Actually. One word of caution that when you are thinking of feeling off the windows tape at the end, make sure that you're painting has dried completely. And by that, I mean, if possible, leave it aside for like a week. I wouldn't even risk touching it like in a couple of days because if, you know your tape was lose at some place or it was not evenly stuck on, then some little puddle of paint might have gone inside. And you might think that it's all dry on the surface, but on the inside it must have been like a thick layer or it might be like a little lump of wet paint and it could still be wet so you don't want to risk it. So make sure that you let your painting dry completely before you peel off the day. And while dealing it off, make sure that you do it extremely slowly. So it has to be super slow, super gentle, and just take your own time with it so that it's a neat to him.
6. Pour Time!: All right, so time to start boring the painting. Now for this, what I'm gonna do is I'm first going to get for paper cups and place them on my day will. So these are basically going to act like an elevation. So we want to put on canvas on an elevated platform because you're going to have liquids draining or grouping from the sides. And so we want to let that happen. We want the drooping to happen naturally. If you keep it on a flat surface directly, then it's just going to stick to whatever the surface is. And it's going to get them to sort of messy. Plus the elevator surface also allows you to handle the painting easily so you can actually put your hands under the canvas and tilted a lot more easily. So we basically want to get the corners on top of backups. So each corner should be what? Each edge should be pleased nicely on top of a paper cup. And we want to make sure that all of this is lined pretty neatly. Make sure that you don't put a go for something right in the center with the fabric is and you only put it on the wood part, on the wooden on the wooden area. Because if you put it in the center, then it's just going to cause a little bumble within and the fabric is going to shift. So we want the fabric to be nice and tight and we don't want anything to happen on that. Now, in order to check if your surfaces level on, on an iPhone, usually we have this app, Gordon measure. And over there you have an option core level. So if you put it on level and you're just like try to place it in the center. It should show you if your surface is leveled or not. And so officially 0 degrees like that, it basically means that it's elevated, just fine. There are no problems with the elevation. And if you don't have this app on your phone, then there is an option where you can actually get the spirit level from the market. My spirit level is actually very, very big, high use it for like really large-scale paintings. So I can't use it over here on the camera, but here's a picture of what it looks like. And so you also get tiny spirit levels which are Pocket friendly and these are often available at hardware stores very easily. Handyman actually carry them pretty frequently for when they have to fix windows or they have to do any kind of basic dialing work or any repairs for that matter. So in the spirit level, if the bubble is at the center, that means your surfaces leveled. And if you buying this from our physical like a store, like a hardware store, they'd be happy to show you how it works. It's very simple. You just have to make sure that the bubble in the spirit liquid in the center is actually in the middle. If it's in the middle, that means their surfaces leveled. Now, once this is done, we are going to bringing our large skull, a new large cup, and we're going to start layering our beans inside the cup. Now this doesn't need to be in a particular order. I just like to play around with the order. And so you can completely have fun with it. And every time you do this, you're going to get a different result. So that's the exciting part. So I usually just pinch my paper cup on the side over there to make it look like a beco. So when I've been the flow is narrower and it's easy to get this into the large curve. So as you can see, I started with my ultramarine blue. And the boring that I'm doing is actually from the corner, if you can see. So I'm not really throwing the paint into the middle of the cup. I'm not making a party over that. And the reason for that is, like I said, we're layering this on double feature though. We don't want to make like a mix of this in the cup itself. We wanted to eventually flow out also like layers when we actually put this on the canvas. So I've done my culture medium blue and then I did my permanent blue light. And then I'm doing my white. And then after this I'm going to go ahead with my gold. So while you're doing this, like I said, it doesn't need to be in a particular order. You can mix and match, and you can just have fun with this. Every time you do this, you're going to end up getting a different result. And that's the exciting part that you're going to have a different kind of composition every time because that's just the way these abstract painting works. Fluid abstracts have their own sort of way of making things happen and you will never be able to replicate two artworks. So that's the fun and the surprise element of this. Now, obviously in this case we're using this full colors. And this is kind of like a pretty monochromatic color screen. So you can see that the cup is fairly blue and we have very little bit of white and gold. But that's also quite intentional because when we were mixing the bands, I going to choose to do less the quantity of white, right? So I obviously have less white as compared to the blue and the, and the gold. Now we have to be quite gentle while doing this. Because if you just throw it in like almost like putting in like an ice cube in a glass of water. We don't want to do like splash. We don't want to do like really be hard hitting when it goes down to the bottom. You can always like scrape out the leftover beamed from the cops and just clean them out nicely. We want to try to get those cups as MDS possible because we kind of calculated the coverage area. It needs to I mean, the spread of it was calculated according to the size of the canvas. So we know that we're not going to have a lot of wastage on this for sure. Well, right. So it looks like this is all nicely done. And I have to say this, that once you start doing this regularly, you're gonna so enjoy looking at your coughs. You're going to find ourselves looking pictures of the cups as well. We've seen the cops look so pretty. So now what I've basically done is as you can see, I took my cup down at the bottom and I basically just kind of took my canvas and government it on top. So essentially what I'm doing is I'm flipping this around. And hence the technique is called the flip cup technique. So essentially, this wouldn't have been possible if you just took your cup literally and tried to flip it on the canvas, it wouldn't have happened because the liquid would have just completely bought out. But it happens better when you support the Canvas from your left hand and you ought or whatever, your dominant hand should ideally be holding the cup and the other hand should be holding the canvas and you're just kind of flip it around. Feel free to go back to the video and just go back a few seconds and watch it again if you want to do that. Okay, now, once this is done and your surfaces leveled as we had previously checked, you will just readjust the cops in case they have moved. And we cannot let this cup sit like this for about 30 or 40 seconds, not much. And that's so that all the beam that we're just to the bottom of the cup, it can travel back the other direction. So now it's become upside down. So technically now this is the dog, so the paint needs to travel all the way back to the water. And so now, in order to do this, we need to let it sit. Now in case you feel that your surface is not leveled, this is also the time to re-adjusted. So as an example, you can always put these popsicles, popsicle sticks or shims or anything else that you have handy with local level them. And so always put them at the edges of the canvas between the paper cup and the canvas so that you can level them. And so this is one way that you can level it up. So this is just an example of how leveling can be done. Okay, Now, it's been a few seconds since we've had this scarf darned over upside down and we've let it sit. Now, the next thing that we need to do over here is actually Polk, the top of this gulp with a small pin. So now if you have been using plastic cup, so silicone cups, then it might not be as easy to bulk. But since this is the paper cup, you can easily use like a skewer steak or a toothpick or one of those, you know, even, even the edges of chopstick sometimes or any kind of needle, basically anything that you can use to poke it and just make like tiny holes over there. I usually keep a palette knife AND with me something that I use for being doing, oh, like abstracts generally. And so I just use my palette knife to meet like these little cards on the paper. And as I remove my hand, you can see that because the air kind of put the pressure on the gulp. It kind of pushed the beam down all to the bottom. And then I lifted my gulp and removed it and then all the vein just aim. Now unlike that in a bucket, now what I usually do with the leftover be int in the GOP logistic dripping out is spread it around. So basically whatever the drips are coming from the cup, I kind of just like move around my cup all through all of the sides. And essentially what that does is that it makes the surface wet, which means when we actually lift that down list and drag this around right now, because this office is going to be already where in certain sections the beam is going to travel a lot faster and a lot easier. Now you can actually see that the cells have actually started popping up already. So you can see these beautiful little sort of details which are popping up on their own. And that's all because of the magic of the silicon oil are quite love that blue one was just popped up over there with deadly real golden sort of beeping from the middle. So these are those beautiful, gorgeous cells that are seen in acrylic paintings. And you'll see how easy it was to get them by just making sure that you are mixing was correct. So now what I'm doing is I'm taking all my leftover, a little bit of liquid that was there or the mixes that was dead and the cops. And just using those also depend on wet the corners. And this is really, really helps in easy flow and easy movement of the band. And you can do this with all the leftover bean that you have. As a side note, though, some of you might have used plastic cups of the silicone cups, as I had said in the beginning of my videos. So in that case, you might have not been able to book it. Or even if you did blend of appeal, you must have realized that you cannot reuse the cup and that gaze especially fulfilling because then the liquid would bore out. So in that case, if Booking is not an option, let's say you don't have been available or for whatever reason you're not able to book the gulp. In that case, we just let the cops sit a little longer. So in that case, let it sit for about maybe a minute and a half, like about 90 seconds to about maybe you are a 100 seconds if max. And that should be good enough for all the liquid to travel through. Okay. So I've used up most of my leftover from the cops and used every little drop of it and put it on the sides. And all of this is eventually going to get covered because it's the Central Park Zoo that we're actually going to be stretching as we doodled and shift the Canvas. So all of this mess on the sides of the corners is eventually going to get hidden. Now you want to make sure that you are lifting your Canvas from the bottom and not really from the side. So try to put the pressure on the stretcher bars from the back or from behind that the lift so that the table is easier for you to manage. Now you can see that I start by trying to move that little puddle to the top-left corner. And I've actually flipped the camera angle as zoomed in as possible for you to see the puddle really traveling in real-time. What I also do sometimes is that I did a little drops of those extra beam that would have bought them and put them on the dry sections of the canvas for the beam to travel through. So you can see that it's almost reached the top edge now. And then I do this for the stopped right edge. It's not a rule, but it is my strongly, sort of strong recommendation that you don't deal to the families, to me dams that you go for each corner, just ones. And the reason why I do that is because then the cells that were growing in the middle, the stretch uniformly from all the four sides and then the composition is not shaping up to be like really weird chips. So those beautiful circular or oval cells that you had, you are, you are basically increasing their skill, but you're not changing their shape, so to say. And so I like to stretch it. I like to stretch the bottle just once for all the four corners. So we're done with three foreigners and now I'm moving to the fourth one. And as you can see for the fourth one, it's taking a little more time to travel. So what I basically do is that all that red beans which is now coming onto my gloves. I kind of use my fingers and I held the beam to travel by just bringing those little drops of paint onto the dry canvas and actually giving you some IID or supporting it in moving in the direction that I wanted to move. Okay. So all the four sides and nicely covered, and as you can see, the composition struggled quite nicely. At this point, you can also see that the light blue, the woman and blue light and gold are actually popping up as outlines of some of the cells. And they're popping up from, you know, from the middle of the other colors. And that's because we've put silicone oil on them. And sometimes if an area looks too dark, gloomy, then whatever little leftover bean that I have, I just take that and I kind of like compensate for those well, I wouldn't call them floors, but I compensate for the little boring little section by adding in a few drops of paint from the cups, leftover bean and just creating some interest on the sides. Now as you see, we did not drip a lot of games from the edges, right? So you can see that my surface on my table is fairly clean right now. We did not actually let the Indo-European sort of travel all the way down and all over the edges. So that's because we had calculated it correctly. So it was not overflowing from the Canvas. And we had also carefully managed, deleted or maneuvered though, though, the liquid to travel very nicely to all the four edges. So that's why this was possible. If you had an exceptional amount of paint on your Canvas like a really large quantity, then that would be like grouping at this point and it would clearly waterfalls and all your cells would be stretching. And as you saw, I have I kind of just ran my hands on the corners, on the edges. And what that basically did was that it kind of just gave like a uniform edge. So whatever little leftover bean that I had on my gloves, I kind of just ran my hands on the sides and it just smoothen out the edges. And this way I was also able to check for any leaks. So at this point, if you notice that your composition is shifting so you see that it's leaking from one side. That's a sign that your service was not leveled. It's not too late at this stage to level your surface. You can still put them, those little shims or you can put those popsicle sticks or anything to balance it out and whichever side that it's leaking, you can just kind of put those and fix it right now It's not duly it. But in about a minute or so it might become leave because like if there's a lot of liquid which has already gone off the canvas, then they won't be enough to cover began listen to some parts of the gammas might become gray. So this is a good point to check. Now the next thing that I'm doing is that I've just again taken like little toothpick and I'm using that to pop out any bubbles that I might see. So these bubbles can be the mode manually very carefully if you just look at them with your naked eyes and you can remove as much of them as possible manually. You can see the dog edge right now that because I've zoomed in the cameras quite a lot. But what I'm basically doing is that there's a certain section of the top edge which has a large blue, dark blue badge, and I don't like it that way. So just to create a little bit of interest, I'm adding these few little streaks of light blue over there so that it doesn't look as boarding. And at this point you can see that the cells have bloomed up quite nicely. Composition is whatever you see at this point, which is about two minutes of the US prefetching the pinned. Whatever you see at this point is about 80 to 90 percent of what your final output is gonna look like. There's a high chance that this might shift if you're being still leaking. But as you can see in the video right now, sends might be it is not leaking and the beam dust settled on the canvas already. My composition is going to look quite close to what it is right now, even though the beam still, it's still doing its job. But it's going to look quite close to what I have right now. We have. So this is a, so this is a good point for you to understand what your eventual composition might look like. Okay, so as you can see, the bottom right area doesn't look as boring anymore because I've added a little bit of gold and I've added a little bit of blue. And you can see the light blue is also now started to show up. And now once all my beam is stretched and I remove as many bubbles as possible in manually. And it's kind of all nice and it's all glossy and it's all set on the canvas. This is where I find leaving in the handrail about two minutes after everything is on Canvas. And once I plug the hairdryer in, I have to basically take an old and ham, not going to use it for more than 15 seconds. Do much heat can cause the beam to crack up and you won't realize it until it's too late that your entire composition is looking very trackable. And we don't want that to happen. So make sure that you're not using your hairdryer or your blue dots for more than 15 seconds. Actually, in the case of logos, you should ideally not be using it for more than three seconds that a sport to be To be absolutely honest with you. And since my hairdryer already use like pretty warm air, it doesn't even give like extreme hot air. I'm not do whether devoted, but ideally, I mean, you should make sure that the distance from the canvas to the hairdryer, should I really be at least a foot, ten inches? So your federal should not be very, very close to the canvas. That's one. And the second thing that you need to be super careful about is that it should be at its lowest possible setting, like it should not be exceptionally hard. The reason why we're using the hydride is because the little bit of air that's going to come in is going to help some more cells to pop up. So I'm specifically going to do it on areas which I feel are a little blank or gland right now. And that's going to help a few more cells to pop up. So especially on the bottom right as you can see. And essentially what this does is that it will cause a little bit of tension in between the different viscosities because two of alkalosis, because of silicone oil present in them and do we're slightly panel. So the heat is just going to help create a little bit of friction or like tension between the liquids. And some more details with bob up and there we go. So at the bottom right, you can actually see a lot more dine dining cells that have popped up. And now it doesn't look that boring angle. So now I'm very, very happy with the composition at this point, it kind of looks like an electric current which is running to the center of the gammas and accountants actually brilliant side. It looks like the only cells that have come up on the corners. They kind of make it look like it's like the inside of an ocean wave, I guess. Hello.
7. Pour Once More!: All right, so I'm all set to show you the second project now. And for this I have, I have purposely chosen to work with a slightly wider camera angle so that you can actually see the entire Canvas in the previous project, it was purposely kept as a close-up so you can see the cells forming and you can see how I was working with my fingers to make the beam travel. But in this case, I've specifically kept, effortlessly kept the camera slightly higher so you can see the entire canvas. Now that you know about the process, you will be able to understand it a lot, battle with this white of camera position. And so basically in this case, what I've done is I've chosen to work with a little more number of colors. So I'm working with a Bowman and blue light, and then I'm working with an orange, the gold, the white. Then I also chose to add a little bit of yellow and a deep more. So basically I took some colors inspired from the rainbow and I decided to add just like a couple of warm colors, which is yellow and orange, and a couple of Googlers, which is more than the blue. And then a gold which is, which is kind of like a little like a special thing for me that I always have a metallic and then a white which I also add a lot of times. So now I have already kept the cup ready with me. So I've measured everything and I've kept the cup ready, I've loaded. It's exactly the same process as we saw in the previous project. So now what I'm just going to do is take this cup, which is ready with me and flip it. And as you can see, I've already leveled my canvas on for paper cups again, you can honestly use anything for leveling. You can use glass jars of anything that is equal on all four sides. And now I'm just flipping it. So as you saw that that's my golf and I just bring the canvas on top of it. And very gently I just flip it over. And then I rested back onto those four cups in case something Moore's now's the time to adjusted. And I usually so I have this been a handy with me, the one that comes complimentary with the iPhone to open your SIM card 3. And so I usually use that to do the little forks. You can use any sharp object. And when there is a lot of liquid in the cup, it's a good idea to kind of hold it when you're poking it. Otherwise liquid Venice leaks out. And then once I remove the top, you can see that everything kind of flows out beautifully. All that dripping liquid that I have a, just drag it onto the site. Just MDR look up nicely and you can see at this stage already the cells have started forming again. So that's the beauty of adding the silicon oil. In this case, I chose to add the silicone oil in the yellow and the board. So those are the colors I chose for the silicone oil. And now I just kind of move this around a little bit. So now I'm going to start with the bottom left. And as you can see, I take a little bit of paint and help the liquid to sort of travel. I just keep dabbing with my fingers. And then I'm gonna do it once for all the four corners. Also, as you've obviously notice, I'm not, I'm not wearing gloves on this particular project. And like I said, I really like the feeling of it being on my hands. And luckily so the silicone oil under foreign medium doesn't really cause any allergies to me. But like I said, it's not for everyone. If you'd like to have perfectly clean hands and if you want to maintain a pretty secure or just have well-groomed hands in general, then it's a good idea to wear gloves. Alright, so now this is quite nicely covered. The whole canvas is quite nicely covered. And I'm just bringing in my hairdryer to form the cells. You can see that this time not a lot of sales popped up on their own as compared to the previous project. And that's because we had a lot of colors this time, which were heavy. So for example, why it is a really, really heavy pigment. And then I also had larger quantities of orange and the deep mall. So those are slightly heavier pigments. And they were all kind of trying to settle down at the back. And one side for them, a little bit of heat with the hairdryer, then the cells blooming up quite nicely. So if the cells don't pop up in the beginning, don't worry so much about it. As long as you have put in a decent amount of silicon oil, which is about three to four drops in about, you know, like about a quarter of a cup of, of the boring mix. If you've had decent amount of silicon oil, the cells will pop up eventually. So even if they don't pop up on their own in the beginning, that's perfectly all right. It's also what to do with the number of colors that you have read. Like last time we just had four colors. And so, and that was a pretty monochromatic color scheme. So you can see the cells popping up easily. But in this case, you can also see that because we had more number of colors, The kind of like meeting each other and making new shares. So you can see that the permanent blue light and the yellow kind of merged and they started giving like this really nice turquoise or legacy green sort of color on the top-right. And even the origin gender. And the lead more will have sort of mixed in and they started giving like this really nice set of sunset purple color. So that's one of the advantages of working with more colors that when they, when they blend with each other on the painting, on the canvas. And the start will give you new unexpected shields. And that leads a lot of interest in the painting. So now the cells have bloomed up quite nicely. And I'm just gonna do the little fixes now like I did with the earlier painting, I'm going to add a few drops of being during their Vanessi that the gammas is drying. Or I'm going to just like try to pop out the bubbles manually. And I'm just going to speed up the video from this point onwards a little bit for you so that you can actually see what eventually happened when I stopped working on the building and one of the final status of the cells was. So here's a pretty close up to show you what it looks like. And I'm shooting this hand-held. So you can see I'm quite close to the canvas and you can see all those beautiful cells that have formed up along with the drips. So you can see there are very, very few drips actually on the sides. All the drips from the previous project or status data, the modern dendrite out, but they've very minimal. So since we calculated this quite nicely in the beginning, we had very, very few drips and we do not waste much. So that's it for this project. Now I'm going to see you in the next video where we're going to talk about how to finish off your artwork and get it ready for sale.
8. Tips for Sale: All right then, So welcome back. And in this video we're going to be talking about the steps to finish off your painting. Make it look professional and how to keep it ready for sale. So my paintings have dried out completely and here's a picture of how both of them have turned out. You can see that the second painting shifted a little bit more after we stopped filming. And that's just the way these fluid paintings are somewhere around the end of the process. Once you've stopped tilting, you will get a fair idea, like about 80 to 90 percent of what evangelical final paintings going to look like. But you shouldn't really get to attach to that composition because the painting will shift a little bit even after that. And that's just because the fluids are still at work and they will work for about five or ten minutes more after you stopped building. And that's just the way these paintings are. So all in all, I'm quite happy with the way the binding has done note and I'm, I'm quite happy with both of the buildings and the final outputs. And I also created some mockups or these paintings in beautiful rooms just to get an idea of what they're going to look like eventually. Creating mock-ups or fewer, art is a very important step. It's highly recommended and we're going to talk more about this in just a bit. So first, let's talk about how to finish off your artwork and give it a professional look. So first things first, we need to ensure that your artwork has dried completely. Like I said earlier, make sure that your painting is left aside at a level, Sophia's for it to dry so that the liquids do not follow or drip off the painting. And everything is, even. Now assuming that all of the work has been done correctly and that your surface is leveled. The painting needs to dry in a dust boot environment. And I and I understand that that's a little tricky in everybody's homes or, you know, it's a little tricky and it's easier said than done. But in that case, you can always find like a large container or like a nice green box or something that can be used to cover your painting. But do that really carefully so that you don't bump into the painting and hit it from the sides and something like that. And then just leave the artwork aside for like a week. And the reason why I recommend keeping the artwork aside for a week is because it kind of let the oil evaporate and let, it lets the end on new layers at the painting dry out nicely. And this is very, very important because if the oil is still on your building and you decide to varnish it or coated with a layer of resin. And then the oil is going to create like a milky, murky effect. And that's something that we don't want an odd, odd, well, so it's best to give the banding aside for at least a week. Now assuming that you're painting has dried safely and everything is good. The next step is to wipe off the excess silicone oil. And this can be done using a baby wipe or a worldwide. So what types of baby wipes usually have like a mild cleansing agent, they're not very, very strong as like, you know, like a, like a surgical instrument of cleaning agents. So it's not as strong as isopropyl alcohol. So they're quite mild. So you can use them and give like a nice title glands to your painting. I always recommend doing a test batch first on the edges of the painting so that in case the paint is still wet or you feel that the paint is kind of like peeling off, then it's important for you to let the painting dry a little bit more, maybe a couple more details. It's always a good idea to do a test batch first. And assuming that your test fat is fine and you're building is safe, make sure that you gently wipe it off with a baby wipe or wet wipe, like I said, once you've ending has been dried out, after this step, it's going to make sure that the oil has gone away. If there is any dust which has settled on the surface, it should take care of that as well. Then you should, you know, the next step is to bring in a microfiber, cloth or dry, nice microfiber brought. And these are usually easily available led like departmental stores or like, you know, hardware stores. And now wipe off the bending one small. So in this case, if there was anything wet which was kind of transferred on from the BB way to the painting. The microfiber cloth kind of takes away the even the minuscule little dust particles as well as any other sort of entity that we don't want a happy ending basically. So it just cleans it up nicely. Now that your painting is completely clean, the next step is to sign it. So there are a couple of ways that you can do the signing. You can either do it on the bottom left of the bottom right, which is traditionally something that all artists do. But I noticed a trend with acrylic pouring that. Since the composition is so interesting and B, we'll usually use it more like a home decor element as against like traditional art collection did open kind of like the signature to be on the front. So most artists usually now sign living things on the side or on the back. And this might also depend on, you know, if there's a gallery that's representing the order of that as a bio that's interested in European doing. So this is a conversation that you can have with them and ask if if there is a particular place that they'd like the signature or if they'd like to avoid it altogether. Personally, for me, if a client or biases that they wouldn't want the signature, I still send my building at least on the back. And that's just something that I do, but it's totally up to you if you want to have this option available to you of signing on the back or not. And you can set your own rules when it comes to your paintings. And we're going to talk a little bit more about one of the problems that the odd that some artists fees while signing and that's getting their signature consistent across all beings. So I know that a lot of people have trouble maintaining a consistent signature, including me. My significant literally changes every time. So one option to avoid this problem is to have your signature ready sheet of like a tracing people or have a digital copy of it reading on a computer. So whenever you need it, you can just print out a copy of it according to the size that you need. And then you can just transfer it onto a tracing paper. And from the tracing paper, you can just transfer it onto the canvas. So that's one option that you have. If you find this process to be very, very long, then the second option is that you can always use a pencil or a watercolor pencil to first do like a very thin, faint outline on the canvas and then go over it with the acrylic paint. So this is one way that you can reach all other two signatures going to look nice eventually, and that you're happy with it so that once you've signed it, you're not disappointed and unhappy that his signature did not go as planned. So this is one way to avoid that problem. Now for signing, or you can use a couple of different things. Of course, one option is to use acrylic paint itself. So you can take it directly from the view with a bottle, use a thin beam brush and sign it with that. The second option is that you can use acrylic paint markers, which are slightly easier to hold. Because in case you're not a traditional find bientot and you don't find, you don't find holding a bean reached comfortable, then this is something that's an option that's available to you and you can use this. The third option is using pigment liner pens. Whichever brand that you use for the pigment liners as well as the acrylic markers, make sure that they are archival inks and you know that there are acid free. So essentially what that means is that if they're acid free and are viable ink, then it's not going to damage the canvas and the painting that you've just met. So it's not going to damage the surface of the painting. Okay, now let's talk about varnishing. So varnishing is an important step because it makes sure that your painting has a long life and it ensures that your painting is safe from any external agents that can cause a color shift or any damage. So usually vanishes, come into categories. There's gloss and then there's Matt. Depending on what your preferences or depending on what your buyer, one, you can choose, either of these vanishes and these come into varieties. So you can get them in dams like spray cans. All you can get them in liquid form. I personally prefer the spray cans because for me they are slightly more even when applying them. If you're planning to use this pre-canned method, then make sure that you're doing it in a well ventilated place and you have a respirator mask on so that you're not breathing in and inhaling air basically. And so that you are safe. So make sure that you're doing this in a, in a nice open ventilated environment. And in case you choose to do the liquid method, then in the liquid method, I personally prefer using a sponge applicator because I feel that the courts are going to be even as against using a paintbrush. And the reason why I say this is because sometimes when you're choosing a beam gosh, if the bristles are hard or if the results are not good quality, then the kind of lead these mocks or impressions on the painting. And we don't want that extra texture to be caused on the bending because of because of those brush marks. So I usually use a sponge applicator, which gives me a nice even finish on the painting. Now, every brand will mention on the can or the mortal, how much time you should read between two quotes. So I usually apply two coats on my painting to make sure that it's completely safe, ones horizontally and vertically. But if you want to do this one chord, I mean there's nothing wrong with it. That's totally your choice. You can live with one quote as well. And in case you just do quotes, like I said, the brand will always mention how much we'd be done should be there between the two quotes. So I usually use this picture varnish from blue stone, and I usually wait like rowboat and D. So I do one gold on one day and another quote the next day. And that's all the things required for varnishing. Another option that you have to see your paintings is to use epoxy resin. Resin when dried gives a smooth glass-like finish that really enhances the columns of the paintings. However, since it is a glossy finish similar to glass, it actually means that objects around the painting or in the surrounding, might actually reflect onto it. So check with your client or your buyer where exactly they are planning to hang the painting and what kind of lighting they have in that room so that the artwork looks good over there. Also, if you choose to work with resin as your final court, then you will need to sign your own artwork before applying it. If you try to sign over resin, then it's super easy to wipe off the signature with surgical spirit on a tissue paper. So make sure that you have your signature in there before you apply resin. And finally, make sure that you have mock-ups of all your paintings to help clients visualize them better. If possible, try to get pictures of the client's room itself and Photoshop there to help them understand what it's going to eventually look like. You may also consider attaching a certificate of authenticity to the backup your paintings to add value and also build trust with your bios. This is an optional step. Some people just like to give this certificate separately as far as the packaging and not necessarily behind the painting itself. I hope all of these tips and tricks have been useful for you. And if you feel like you still have more questions, feel free to reach out to me via the discussion forums over here on my social media handles. And I'd be happy to help you out. As is the case with every art form, experimentation is truly the key to finding your own niche and developing your own personal style. Don't be afraid to fail and try again to look at things, right? And I'm promise you, you are definitely going to get addicted to these acrylic bore paintings.
Ridhi Rajpal, Artist + Film-Maker + Educator
