About

I started paint pouring a few years ago as a way to express artistic intentions in the physical world rather than digital. Frustrated with digital tools and their limits with fluid dynamics, I started doing the real thing on my dining room table, but now I have a dedicated space for filming and creating larger pieces and experiments.

FAQ / HOW TO

**I don’t get it. What do abstract paintings mean, man?**

They don’t have to mean anything. Sometimes you may just want to create something and the meaning and form are accidental. With practice and experimentation you may have a more controlled vision, but it’s not necessary.

How much paint do I need for my canvas?

That depends on your canvas size of course. There’s a handy calculator here.

What are these “cells” the kids are talking about?

Cells are complex patterns that emerge from the weight, buoyancy, and temperature interactions of your paint mixes. They resemble cell shapes under a microscope.

What’s your favorite mixture?

There are all sorts of ways to mix your paint, and really the trickiest variable is your paint thickness, but I find mixing a paint leveler (Floetrol, Owatrol Easy Flow) and distilled water into the mix to have the most even and fluid mix. This helps prevent uneven surfaces, paint that’s too runny, and smooths out graininess.

For instance, with cheap Apple Barrel paint (it’s thinner than Windsor and Newton) I get a good mix using a ratio of:

1 part paint
2 parts Owatrol
1 part distilled water

Even with the leveler dominating the formula, the saturation of the pigment comes through. The leveler can also help generate some nice cell action.

What paints do you use?

In general, the cheap, low volume stuff. But so far I’ve used Apple Barrel, Liquitex, and Artist’s Loft. I’ve yet to need a gallon paint bucket for anything.

You can also buy pre-mixed pour paint, but if you want a color they don’t offer it may be hard to match the consistency by mixing it yourself. I also find them to be a bit too runny.

How much of a mess is this? How do I prep for success?

It can be quite messy, but you can prevent disaster by prepping you and your space properly.

For your room

It is crucial to work in a well-ventilated space with a good amount of light. You’ll be working with various chemicals and humidities. Keep the air circulating when you’re not drying canvases.

For yourself

Use a painter’s apron to prevent splashes from ruining your favorite T-shirt (RIP Snoopy taking a nap).

Use nitrile gloves to protect your hands / nails. Acrylic can be really annoying to wash off.

For your work flooring

Put down a drop cloth with plastic backing (this is fluid paint after all), especially if you’re working over carpet.

For your work surface

A flat, stable surface that comes up to your stomach while standing.

Freezer paper or a silicone mat allow for easy peeling / cleanup of dry excess paint.

I prefer freezer paper because it’s malleable and custom sizable, but the standard roll will curl up on you and weighing it down is more distraction.

Silicone mats, especially the bigger ones can be expensive. I’ve found they also yellow with use.

For canvas prep

Use flat disposable “legs” to raise and stabilize your canvas. You can use plastic cups, silicone risers, etc. but use something you don’t mind getting ruined. You can use yogurt / fruit / or other disposable containers as well, just make sure they canvas surface is level.

If you want a clean side look, apply painters tape to the sides / bottom of the canvas. Paint over the edges of the tape with your canvas color (probably white) to help prevent any color leakage.

Even if you don’t want a clean look on the sides, I’d still recommend taping the bottom of the canvas for easy cleanup as you will get stalactites of dried paint which can make the canvas sit uneven for resin or hanging on a wall. You can also sand it down, but that seems way messier than taking the time to tape up the back.

When you’re ready to pour on your pigments, you should put down a layer of pre-mixed white (or whatever you want your base color to be). This will help your paint move much easier.

For A wet canvas

Try not to have a fan running to prevent dust, hair, etc. from moving around the room and potentially making a home in your painting.

In a dusty or hairy space (could they ever be mutually exclusive?), you can cover the canvas with a cardboard box or some other means without it touching the surface. However, it may take longer to dry.

For paint storage

If you want to batch mix, plastic condiment squeeze bottles with measurement markers make a very decent storage container for quick access. As a bonus you can even mix your paint inside the bottle if you have a drill and a small paint mixing attachment. The only caveat is that you may need to clean the nozzles before use to prevent clogging. You should also shake the bottle if it’s been sitting around a while.

What’s the best Pouring method? How do I get a refined look?

Different methods have different effects so it really depends on what you want to accomplish. My most commonly used ones:

Cup pour

You get a lot of customization as far as leveling, mixing, and pour pattern goes. Want to slightly blend your layers: use a palette knife to slice the layers as many times as you want.

Swipe

Apply your paint to the canvas and use a straight edge to pull and blend the paint. This can create cells as well, especially if you add a paint leveler to the straight edge. You can also use cling wrap if you want to do the full width of a canvas, but you may need 2 sets of hands to prevent clinging frustration.

Blowout

Apply your paint to the canvas and use a heat gun or blow dryer to push the paint around. It’s easy to overdo it with this method, so try practicing on smaller pieces first.

Spin to win

Similar to a blowout, but to achieve more consistency and rounder shapes. Apply your paint to the canvas and use a lazy susan to spin your canvas to move the paint. This can get pretty messy depending on how fast you spin it, so start slow and try to feel how the paint is moving.

Refining your look

It turns out the rules of composition still apply to abstract pieces. Some tips:

You still need negative space for scale and cohesion
Too many overly saturated colors means nothing stands out
Overly “drippy” or “melty” generally doesn’t look great
Repeating patterns (cells for instance) help communicate form to the viewer (shape relationships, scaling, etc.)

While it can be scary to touch the surface, light accents using your finger or other tools help refine your shapes and can be used to tie them together in more interesting ways.