Understanding the Techniques of Pouring Acrylics | Just Paint http://www.justpaint.

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by Michael Townsend on August 15, 2016 in Uncategorized, Acrylics, Color

While the practice of pouring artist paints is certainly not a new way to apply paint, achieving consistent results can be frustrating and costly.
However, it is vital to the process to conduct experiments to gain the knowledge of what are the most critical controlling factors which preside
over paint pours.

Studio Preparation

One sure way to improve the odds for successful pouring is to start with
a clean studio. Acrylic pours are relatively slow drying paint layers and
dust can easily become imbedded into the film. Take some time to free
the immediate workspace, sweeping the floor and wiping down
surfaces around the studio. Next, be sure the table top or floor you are
working on is also clean and level. Even slight angles can cause issues
with pours. Put down fresh poly plastic sheeting on the surface which
will protect the surface and help later on by preventing your artwork
from becoming glued to the work surface, as pouring products creates
puddles and drips that can travel off of the canvas or panel. Finally,
control the temperature and humidity level in the studio as much as
possible. Dry climates increase the chance of crazes developing –
fissures resulting from liquid acrylic products skinning over during initial
drying while the underlying liquid paint is still very fresh. The skin
shrinks and tears apart resulting in unwanted physical textures known Image 1: This tinted GOLDEN Self-Leveling Gel “skin” shows the crazes that
developed during the drying process.
as a “craze” (see Image 1).

Painting Substrates

The most predictable painting surface for pours is a sealed panel. This surface is less affected by the weight of the wet product compared to
stretched canvas. Of course, the panel needs to be resistant to warping from water, thus sealing the surface with one or more coats of acrylic
medium (or paint) is helpful. Conversely, this advice may be counter-productive if your technique relies upon the surface absorbency and/or the
ability to curve the substrate in order to control the paint movement. This is why testing is such a critical factor even when using products that
other artists find successful. If working on stretched canvas is vital to your process, you may be able to eliminate the sagging by stretching over
a wooden panel or using a cardboard block between the stretcher bars.

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