Crevicing forms when layers are too deep or if left to dry on an uneven surface. Avoid by pouring thinly. Spread the medium out thinly while wet, or add small amounts of water to the pouring medium to ease thinner applications. Pour several thin layers, allowing each layer to dry before applying the next layer.
Rippling is caused by trying to rush the drying time with a blow dryer or placing it to dry outside in direct heat. To avoid bubbles, pour gently from a low height and soft angle, and lightly spray with alcohol from a spray bottle immediately after pouring.
There are two categories of pouring, each requiring different processes and produce different effects. A coated pour uses paint or combinations of paint and medium with little or no water added, while a wash pour uses heavy dilutions of water with paint color. The more water added, the more the binder is diminished, encouraging the diluted paint to sink into the surface rather than sit on top as a coating layer. In general a good rule to follow is that if you want a pour to sit on top of the surface (as in Jackson Pollack’s layered drips or high gloss finishes), use a pourable medium and keep water additions to under 40%. If you want a pour to sink into the surface, (as in Helen Frankenthaler’s stained canvas effects), add little or no mediums, instead heavily diluting the paint with water (at least 1:1 paint-to-water ratio). A coated pour can resemble oil paint and will intensify colors since glossy binders refract light. A wash pour can resemble watercolor and mutes colors since the glossy binder is diluted with water. In this section, Techniques 25–32 involve coated pours while Techniques 33–37 are wash pours. Technique 38 combines both coated and wash pours.
Coated pours are best obtained by starting with a medium or paint that is already pourable. Fluid acrylics are pourable and so are many mediums and gels. If it naturally pours out of a container when turned upside down, it will probably be fine for the pouring techniques in this section. Pours are very finicky with outcomes varying widely depending on climate, type of acrylic product used, surface absorbency and application. Test a product by pouring it on a scrap surface and let it dry. Compare final results with those pictured here for improvement tips.
Pouring mediums come in thick or thin viscosities. Thin pouring mediums are not diluted versions of the thick. Instead, each is formulated specifically and will produce different results when used in a pouring technique. For determining pouring quantities, plan on about 2 ounces of thin pouring medium to cover an 8" × 10" square (20cm × 25cm) or 3 ounces for thicker pouring mediums. Avoid haphazardly adding water to thin pouring mediums. Instead experiment with the pouring medium on its own first to determine if you need to add water. Consider these additional tips for coated pours:
• Setup. Allow excess medium to spill over the sides by propping up the surface with containers or blocks at all four corners. Use a leveling device to ensure the surface will be level while drying. To level, add small bits of paper under propped corners until even.
• Surfaces. Use a rigid substrate to prevent buckling while the pour dries. Stretched canvases need to have the center propped up to keep it from sinking. Before pouring apply a stain sealer, then prime with gesso to diminish stains coming through the surface into the poured layer (see Section 1: Archival Methods and Materials).
• Color or Clear? Adding color to a pouring medium is always an option. Experiment by mixing color and medium in a container homogeneously for an even colored pour (Technique 29), add color into the container but don’t mix or stir for a dirty-mix pour (Technique 26), or add color after pouring directly into wet medium (Technique 27). Experiment with a variety of paints like fluids and very thin paints like airbrush colors, high flow, or acrylic inks.
• Pouring Methods. For most techniques a pour can entirely cover a surface, part of the surface as a puddle or shape, or in a drizzle creating linear shapes.
A perfect pour, fully dry with no crevicing or bubbles.
Fluid paints offer more color intensity for making color washes than heavy body paints. Substitute acrylic inks, high flow and airbrush colors in most wash techniques for alternate effects.
• Water. Add enough water to create the appropriate dilution for each wash technique. For most techniques finding the ideal ratio of paint to water gives best results. For additional information on diluting paint with water see Section 1: Water Versus Mediums.
• Consider Surface Absorbency. Most techniques require a specific surface absorbency to produce best results. Wash pours on a glossy surface break apart into interesting variegations, while on matte or absorbent surfaces, such as watercolor paper and raw canvas, soak into the surface producing an even-colored stain. Easily change surface absorbency by applying the appropriate (matte or gloss) acrylic paste or gel before painting, as in Techniques 33 and 34.
• Minimize Handling. Let the paint and water move around on their own while drying. Interesting effects with washes are more often created with happy accidents. Once a wash is applied it is often best to leave it alone undisturbed on a level surface.
A variety of soft and hard-edge forms are created with wash pours on canvas. Modern colors are used for the washes, keeping the color intensity bright.
BIG YELLOW
Mary Morrison
Acrylic on canvas
42" × 46" (107cm × 117cm)