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Understanding the Techniques of Pouring Acrylics

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

Crazing

Image 1: This tinted GOLDEN Self-Leveling Gel “skin” shows the crazes that developed during the drying process.

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 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.

Paints and Mediums used for Pouring Applications

Free-flowing liquid paints and mediums are at the heart of the pouring process. Adjusting the viscosity and flow rate to work in tandem with how you want the paints to interact with each other is key. Obviously, products like GOLDEN Fluid Acrylics and High Flow Acrylics are more practical when doing pours than thicker Heavy Body Acrylics. This is not to say you cannot use Heavy Body paints, but they will first require thinning with water, acrylic medium, or both. A great approach for thinning Heavy Body paints without a loss of film strength is to first mix a thin acrylic medium such as GAC 100 with water (1 part medium to 1.5 parts water, and then use this mixture to thin the paints as much as desired). This mixture assures quick thinning but contains enough acrylic binder so that you still end up with a pourable paint instead of a color stain mixture. Since Fluids and High Flow Acrylics are already pourable, this step isn’t required to work with them, but sometimes it is necessary to adjust these paints as well. GOLDEN Airbrush Transparent Extender is also a valuable medium for adjusting paints. This product is a similar consistency to High Flow Acrylics, containing flow improvers and leveling additives.
Although most acrylic mediums are inherently pourable, some are better suited for pouring than others. GAC 800 is a medium specifically produced to modify paints for pouring, such as when pouring a puddle onto a paint surface. The GAC 800 mixes readily with the Fluid Acrylics and this combination is the least likely to craze during drying. It’s still possible GAC 800 may craze, but this is usually the result of too much paint being added and in turn, countering the acrylic solids level or the pour has been applied in too thick of a layer. A great starting point is to mix 1 part paint into 10 parts GAC 800 and limit the thickness to how far the product will spread. In other words, pour the product into a pancake puddle, and let it seek its own thickness without impeding its flow by use of a taped off or dammed edge. Once these tests are done you may want to try other paint amounts and use edges to control the flow, but be wary of too thick of a pour to start. The biggest negative attribute of GAC 800 is “dry state clarity”. This medium retains a slight cloudy quality making it a poor choice as a clear topcoat or even transparent color layer.
Other mediums to experiment with include GAC 500, Polymer Medium (Gloss), Fluid Matte Medium, Self-Leveling Clear Gel and Clear Tar Gel. One important note worth mentioning is that these products were not developed with defect-free pouring in mind, and although smooth thin layers are possible when using them, they are not free of issues and limitations. For example, a common misconception is that Self-Leveling Clear Gel can be poured liberally and spread around with palette knives, trowels and squeegees and level perfectly upon drying. This is not the case, and some tool marks, however slight, will likely remain in the dried layer. Tool shape and application technique are critical to their success, and artists who have mastered their use have spent many frustrating nights in their studio figuring out the best application method that provides the desired results. As a place to start, use clean, large tools with smooth edges and carefully spread the product in multiple thin coats until the desired effect is attained. Allow one to three days drying between coats to reduce the chance of crazing and don’t be put off if every layer isn’t a perfect epoxy like surface, as perfection is nearly impossible to attain in layers of air drying products.

GAC 800 Pour

Image 2: GAC 800 blended 10:1 with GOLDEN Fluid Acrylics creates solid color pours that retain crisp edges between each color.

Pouring Application Techniques

There are as many methods as there are product combinations to try. First, appreciate each paint color as its own unique formula and pigments vary in their density and ability to move and spread. The same is true for the many acrylic mediums produced. Now factor in the addition of water, Retarder, or diluted Acrylic Flow Release. Toss in the impact of the painting substrate and studio environment and suddenly, predictable pouring seems unattainable. The way to best describe the approach to pouring applications is the concept of setting the stage to allow the products to do what they want to do; in other words, controlled chaos. And if you don’t take good studio notes to identify how each painting is created then you’ll never be able to reproduce a great effect when they happen. That said, here are some common methods and beginning mixtures to try out:

  • Thinned Color Washes – High Flow Acrylics are ready to use for this application. The colors will readily move and interact. Try them neat, mixed with mediums like Airbrush Transparent Extender or GAC 500 and let gravity move them around. Fluid Acrylics will require at least 10% additions with water to allow them to freely move about. Note: high additions of water increase surface tension, which can be countered by adding in 2 or 3% Acrylic Flow Release into the water prior to using it to thin paints. Do not over-add Acrylic Flow Release as it does not help improve flow, it’s intended to reduce surface tension which happens quickly.
  • Solid Color Pours – As mentioned previously, GAC 800 is a great medium to use with Fluid Acrylics for making colored pours (see Image 2). Ideally start around 10 parts GAC 800 to 1 part Fluid Acrylic, mix and store the paint overnight in a sealed container. This allows the bubbles incurred during mixing to rise and pop, resulting in clean pours with sharp edges. These mixtures produce clear color edges. Solid color pours can be used over an entire canvas, but avoid damming up the edges during drying.
  • Adding Isopropyl Alcohol into Acrylic Paint – Alcohol is less dense than water, and evaporates quickly once it hits the surface of a pour. Unlike other applications, the alcohol amount for this technique is relatively low because once the effect happens and it escapes the fresh pour, there needs to be sufficient time for the normal acrylic paint curing process to
    Alcohol Pour

    Image 3: Pours of GAC 800, GOLDEN High Flow Acrylic & Isopropyl Alcohol create cellular patterns as the alcohol tries to escape the paint during drying.

    occur to avoid film formation issues. An effective starting recipe is 2 parts GAC 800, 1 part High Flow Acrylic, and 1 part 70% isopropyl alcohol. Create 3 or more paint mixtures in containers which can be shaken without spilling and carefully pour one color on top of another. Dense pigments like Titanium White should be used as the final layers so that the more aggressive colors below will push up through and create the cellular effects (see Image 3).

Conclusion

As with any new painting technique, do not be discouraged if the desired results don’t happen immediately. Good note taking is critical for successful pours of acrylic paints and mediums. If you find yourself at the crossroads and need additional guidance, please contact the Materials Specialists with your questions!

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59 Responses to Understanding the Techniques of Pouring Acrylics

  1. Christine Sauer August 17, 2016 at 3:12 pm #

    Great article with useful information! I was wondering how artists were achieving the cellular look. Going to give this technique and the others mentioned a try. Thanks so much!

    • Michael Townsend August 18, 2016 at 9:32 am #

      Hi Christine!
      I’m sure you’ll have a great time. Take notes and expect a learning curve!
      – Mike

  2. Natalie August 17, 2016 at 7:30 pm #

    Can one apply acrylic paint on top of the poured surface once dried?

    • Michael Townsend August 18, 2016 at 9:31 am #

      Hello Natalie,
      Yes, once you have allowed the poured layers to become solid (typically 3 days or so) then you may hand-paint over them as desired. It’s possible you may be able to paint sooner, but the timing changes based upon environment, poured paint thickness and what you’d like to do next. Multiple pours often take the most time to reduce the chance of cracks and other unwanted surface defects occurring.
      – Mike

  3. Laura August 24, 2016 at 10:22 pm #

    Great article! Can I ask, would you put the lighter colours down first, or the darker? Wondering if the lighter blues (for example) would have enough opacity to sit on the darker blues. What generally happens here?

    • Michael Townsend August 30, 2016 at 3:55 pm #

      Hi Laura, If you are referring to the alcohol pours, colors with more opacity seem to develop more pronounced patterns. Transparent colors are darker and it’s harder to see the effect. Contrast is important, so that light layers give way to darker colors rising up through them.

  4. Kailey August 24, 2016 at 11:01 pm #

    This article is everything, ESPECIALLY the end part about getting the cell effect with rubbing alcohol. Is 91% alcohol okay? Thank you for writing this, and sharing information that most artists consider a “secret”!!

    • Michael Townsend August 30, 2016 at 3:53 pm #

      Thank you Kailey. We’ve always been of the opinion that giving information about techniques is a two way street; you get back as much as you give. I found both 70% and 91% alcohol works for this process. 91% might be better in terms of not having to add as much into the mixture. The alcohol should be mostly evaporated first in order to allow the acrylics to properly cure.

  5. joanna September 5, 2016 at 4:29 pm #

    How long do fluid acrylics take to dry when used neat for pouring? I tired using these and they do not seem to dry……..

    Any help will the appreciated

    Regards, Joanna

  6. Silvija September 7, 2016 at 2:23 am #

    Interesting read, thank you for sharing this info.
    I use equally challenging technique in terms of how to achive consistent results and the paint going down the drain (literarly). With this technique I create foam-like texture by applying narrow stream of water from a water sprayer on heavy body acrylic paint that’s been distributed onto a canvas.
    I’m thinking if I should use mixture of water and acrylic medium instead of just water. Which medium would you recommend?

    • Michael Townsend September 7, 2016 at 9:14 am #

      Hello Silvija,
      There are probably many mediums which you can try for this technique. The GAC 100 or GAC 500 are the most likely candidates as they are thin, pure acrylic mediums. Rather than replace all of the water you use, you may be better served by blending water and medium (1:1 as a starting point) so that the technique produces the desired effects. However, if you do find adding medium for this part of the process not practical, you should then move to applying an “isolation coat” and then varnish to protect the work. Please let us know if you have any other comments. – Mike

  7. Claudia September 15, 2016 at 1:11 pm #

    Thank you for sharing the information.

    I have the following question concerning the thickness of the poured layer, and the time between pouring the next layer.

    Is the thickness of influence of the process letting the paint underneath rise ? In my experiment i poured a white layer directly on top of an black/blue layer, the white completely disappeared even with alcohol.

    • Michael Townsend September 20, 2016 at 10:22 am #

      Hello Claudia. You are most welcome for the information. Poured painting layers are often quite thick, so you should allow ample time for the paint to coalesce before you apply the next layer. Usually, this can take between 3 and 7 days, depending on the overall factors such as temperature, humidity, air flow, product thickness and surface absorbency. I’m not sure what happened with your painting, not knowing all the details. It’s possible the density of the white caused it all to drop to the bottom of the blue/black, but the most dramatic effects would be to pour these layers immediately on top of one another. Hope that helps! If not, please contact me directly via email and we can figure out what’s going on.

  8. Peter September 20, 2016 at 11:00 am #

    Great topic and excellent advise! Question : can I use my normal acrylic paint (brush and pallet knife) as I see you advise high flow acrylic. Can I turn my heavy body paint into high flow somehow ?
    Thanks

    • Michael Townsend September 20, 2016 at 11:43 am #

      Thank you Peter. In regards to modifying a thicker acrylic paint to be used in this process, it’s possible, but I have not tested it. You would want to first thin the paint down with a blend of water and medium (for example 3 parts water to 2 parts GAC 100). Add small amounts of this acrylic-water mixture into the paint until the paint becomes pourable, then it can be modified with the GAC 800 and isopropyl. As stated in the article there are many variables which influence the patterns developing, so you may need to adjust the ratios of products until you find the combination that provides the right movement of paint.

      • Bryan Riolo November 5, 2016 at 3:32 pm #

        Yes, heavy body acrylics can definitely be thinned down for pouring and liquid painting. I have used it many times.

        • Peter January 24, 2017 at 4:58 am #

          Thanks for your comment. What would ratio be since I expect you have to use more fluid additives (water, medium…).

  9. Maureen Sousa September 22, 2016 at 2:29 pm #

    Great help here with alcohol pours!!! but wondering if they could be made up & stored for a time? I am assuming the alcohol will evaporate if not kept in airtight containers.. Also does each color including the titanium contain the alcohol??

    Thanks.

    • Michael Townsend September 23, 2016 at 9:30 am #

      Hello Maureen,
      I have made mixtures and kept them in a sealed jar, and they have worked. The alcohol as you mention does flash off very quickly, so if the container has a lot of head space it would fill with the alcohol, lessening the amount in the liquid paint mixture. Overall though we’d suggest creating these mixtures and using them fresh, as there isn’t any trials where we studied the affect of alcohol mixed with the paint long term, so it may end up wasting product. We just don’t know for sure. In the image from the article showing this effect, all of the colors were mixed approximately similar in regards to the ratios of paint, medium and isopropyl.

  10. David September 30, 2016 at 4:08 am #

    Hi Michael

    This is a great article, it’s very difficult to find information on mixtures for the alcohol pouring technique. Do you have recommendations for the substrate to use, I’ve tried gesso covered canvas boards and the paints sink in and you see the canvas texture in certain areas. I also tried gesso covered wooden boxes and I had severe cracking.

    I really want to achieve a smooth glass like finish, I realize I can pour epoxy resin to give it it’s final coat but I’m struggling to get the desired finish prior to this.

    Thanks

    • Michael Townsend September 30, 2016 at 4:49 pm #

      Hi David,
      Thank you for comments. If you seal the surface of the gesso with acrylic medium before doing the pours they will be much smoother. For example, the Soft Gel Gloss thinned 2:1 with water (isolation coat recipe used prior to applying varnish). Smoothing canvas with Molding Paste works really well also. The same thing is true with the wooden substrates, as gesso on wood is highly absorbent. I should note also that with all of alcohol evaporating from the paint layers the surface isn’t as smooth as it is when using just GAC 800 and paint. You could also apply pure GAC 800 as a thin coat but as the article mentions, it’s slightly hazy, so you have to make sure it’s not going to be an issue for your artwork.

  11. Linda October 5, 2016 at 7:59 am #

    Hi Michael, I really appreciated this article about pouring. Very clean and clear and understandable. There is also the pouring technique where you start by putting your canvas in water and you pour the colors directly on the canvas in the water and when you pour it out it makes beautiful effects and less messy. Did you try that method?

    thank you very much.

    • Michael Townsend October 5, 2016 at 9:28 am #

      Hello Linda,
      Thank you for the kind words about my article. There are certainly many kinds of pourable paint applications we were not able to cover within this article. We refer to the technique you describe as “stain-painting”.
      Here is a video that supports this painting approach: . Perhaps in another article we could speak to this technique! – Mike

  12. Jennifer October 25, 2016 at 11:24 am #

    I want to thank you so much for this article! I searched for hours and hours for this exact information! I have been trying over and over to achieve the “cellular pattern” look. I tried last night and it didn’t quite work the way it does in that picture but I took notes and I’m sure I just need to keep trying as you mentioned, “As with any new painting technique, do not be discouraged if the desired results don’t happen immediately.”
    The way I did it was that I poured the paint, then dripped the alcohol onto it, but as i re-read the article, maybe I was supposed to mix it in with the paint?
    Thank you again! This is so helpful 🙂

    • Michael Townsend October 25, 2016 at 11:33 am #

      Hello Jennifer!
      I’m very glad you found the article so useful. You are correct that you want to mix the alcohol in with the paint and medium, because it’s the action of the alcohol rising to the surface, pulling paint along with it, that causes the patterns to emerge. Keep at it! – Mike

  13. Jackson Ng October 26, 2016 at 7:36 am #

    I had tried with the golden high flow and fluid acrylic with rubbing alcohol but did not get the cellular effect. What went wrong ? Should the paints be mixed thoroughly with the alcohol before tilting the canvas. Any sequence on the pouring ?

    • Michael Townsend October 26, 2016 at 4:15 pm #

      Hello Jackson,

      The way I have been mixing the paints up has been by mixing them in a tight sealing jar and shaking the mixture up. The air bubbles seem to help create the cellular patterns. The key though is to have one color flowing over others, wet into wet. So, mix the paints with the alcohol, pour one or more colors out and then tilt the canvas so that one color can roll over the other. – Mike

      • Jackson Ng October 26, 2016 at 10:03 pm #

        Thank you. Will try that again

  14. moni November 8, 2016 at 3:19 am #

    how can I get the cells effect of Arthur Brouthers? Which medium can I use? Thank you

    • Michael Townsend November 8, 2016 at 10:00 am #

      Hello Moni,

      Thank you for your questions. I can only speak to what has been working for me, which is the isopropyl alcohol and GAC 800 with High Flow and Fluid Acrylics. How Arthur Brouthers specifically accomplishes his work is unknown to me.

  15. linda November 29, 2016 at 2:49 pm #

    What a great article. Answered so many of my questions. Now I can proceed with confidence that my paintings will remain intact. Thank you

    • Michael Townsend December 13, 2016 at 3:10 pm #

      You are most welcome, Linda.

  16. Jenna December 3, 2016 at 5:04 pm #

    Hey Michael….i did a large canvas last night….it was perfect when i went to bed, but i woke to something completely different this morning! The paints moved SO much overnight and i really don’t like it anymore. Parts are now very think and tacky. Once it’s completely dry, can i re-pour/layer over the top?
    Really need to salvage it!!

    • Michael Townsend December 13, 2016 at 3:10 pm #

      Hello Jenna. With the great patterns resulting from alcohol, it is important to not overdo the alcohol additions. They make the paint mixtures very thin and very volatile. Try reducing the amount you are adding so that the majority of alcohol has left the paint film before the film formation process begins. Also realize that dense pigments such as ultramarine blue will readily sink in a liquid paint layer, and if you are adding the levels of GAC 800 I did when crafting this article, the mixture becomes less milky and more transparent after it dries.

  17. marti garaughty December 7, 2016 at 7:06 pm #

    I love this techniques, always surprised by the results!

  18. Judy block December 9, 2016 at 4:59 pm #

    I’m interested in putting a second layer on top of the dry first layer. I’m hoping to lightly lift off the dry second layer to reveal the color underneath. Instead, both layers come off together. How can I get the result I want?

    Thank you.

    • Michael Townsend December 13, 2016 at 3:06 pm #

      Hi Judy. Without seeing the work it’s difficult to understand what you are experiencing. However, it sounds as though the first layer was not completely dry, or it was perhaps overloaded with alcohol and that might make it more sensitive to a second application. You may need to apply an isolation coat of acrylic medium before you attempt another layer with alcohol in it.

  19. elizabeth December 11, 2016 at 3:31 pm #

    hi! just wondering, when you mix alcohol into paints to get more cells, is this when you pour the paint on the canvas in a water bath/dip the paints into a water bath or do you only mix alcohol into the paint when you are doing a dry fluid paint? not sure if i’m describing it correctly–im entirely new and only started researching this yesterday and i watched alot of youtube where canvases were either in water or dipped in water. thanks!! I love the cell look.

    • Michael Townsend December 13, 2016 at 3:03 pm #

      Hi Elizabeth. Thanks for commenting. No, you are describing a marbling technique, which is quite different. That technique involves hydrophobic paints (usually enamels or oils) that readily float on water, and an object is pushed through which imprints a pattern onto the surface. It can be done with acrylics although thickened water is best for waterbased paints.

  20. KClem December 11, 2016 at 7:43 pm #

    This article was super helpful. Thank you.

    • Sarah Sands December 13, 2016 at 2:59 pm #

      You are very welcome!

  21. Li January 8, 2017 at 12:59 pm #

    Do you have/will you make a demo video of this technique?

    • Michael Townsend January 18, 2017 at 8:41 am #

      Hello Li,
      No video just yet showing the application just yet. What would you like to see in the video that would be most helpful for you?

      • Li January 22, 2017 at 5:29 pm #

        I guess just watching the amounts of each to use in the timing …

  22. Sarah January 17, 2017 at 6:38 pm #

    Hello, Michael.
    Thank you so much for this informative article. I have been practicing the acrylic pouring technique for a few months, and my biggest obstacle has been little to not-so-little craters created by air bubbles that popped while the paint was drying. Is there anything you could suggest that would prevent this besides sitting in front of your piece for hours popping every single bubble you see? You mentioned in the article to let your paint mixture sit overnight in a container before pouring. Is that the best method to prevent air bubbles? Would mixing the alcohol into mixture prevent this as well? Thanks so much in advance!

    • Michael Townsend January 18, 2017 at 8:39 am #

      Hi Sarah,
      You are most welcome for the article. When I started out doing pouring my impatience to work definitely led to many unwanted bubbles and craters. It is nearly impossible to mix paints and mediums together without developing air bubbles, but as you cited, the best approach to removing them is to simply allow the mixtures to sit overnight. Pre-mixing batches allows you to dial in the color and have it ready to use for the near future. Some mixtures may have the denser pigments settling a bit while in storage, but often just a gentle stirring returns the mixture to a uniform color. While adding some alcohol might help the mixing bubbles rise and pop faster, it’s not a great substitute for time.

  23. Serena January 28, 2017 at 1:10 am #

    This is great info thank you so much! Just one question how many layers do you suggest be poured before rolling the canvas around to completely cover it with paint?

    • Michael Townsend February 2, 2017 at 1:45 pm #

      Hello Serena,

      Thank you for your feedback. I think that the number of layers depends on how complicated of a design you want to have. I could see this effect work with just two colors. You could pour a color on half of the canvas and then cover the other half with the next color, or you could completely cover the surface with one color and then add the next over it. In this case, I like to have a light pigment color applied first, and then a denser color over top. For example, Quinacridone Red as the base and then Titanium White on top.
      Michael Townsend

  24. Beroule February 1, 2017 at 2:47 pm #

    Hello is there a French translation please. I would like to try this. Thanks for your answer. Nicole

    • Michael Townsend February 2, 2017 at 1:41 pm #

      Hello Nicole, This article has not been translated, but you can copy the text and run it through a translator program, such as Babblefish.

      Like This: Bonjour Nicole, Cet article n’a pas été traduit, mais vous pouvez copier le texte et le lancer à travers un programme de traducteur, comme Babblefish.

      Please let us know if something does not translate well for you.

      Michael Townsend

  25. Adelina February 6, 2017 at 4:15 pm #

    Thank you, Michael for this article! Is it absolutely necessary that the canvas be gessoed or can you use a “raw” canvas to create a nice piece using GAC800, alcohol, and acrylic. Thanks again.

  26. Adelina February 8, 2017 at 3:13 pm #

    Thank you for the information Michael. One question please, have you experimented with both a gessoed and raw canvas? Is it absolutely necessary to prime the canvas before you pour? Thank you!

    • Michael Townsend February 10, 2017 at 1:04 pm #

      Hello Adelina.
      You are most welcome for the article. You do not need to gesso the canvas necessarily, however, in my experience you will likely lose a great deal of the detail due to the canvas weave.

  27. Veronica February 16, 2017 at 8:02 pm #

    Hi,
    Ive recently started doing pours however I’m really struggling with it drying evenly. I level out my canvas at the beginning and then once in finished I come back in about an hours time and then for some reason there is a thick layer of paint that hasnt reached an edge causing it to clump. Is there any possible way to fix this?

    • Michael Townsend February 20, 2017 at 7:44 am #

      Hello Veronica.
      I’m having difficulty understanding what you are experiencing. Please contact me directly, with images if possible of what the issue is, and what products and ratios you have tried thus far. mtownsend@goldenpaints.com
      – Mike Townsend

  28. R February 19, 2017 at 7:05 pm #

    Hi. Is it possible to use normal craft paint from Walmart for this method? If I just properly thin it out with water and Liquitex Medium?

    • Michael Townsend February 20, 2017 at 7:30 am #

      Hello R. It may be possible, but we have not tested using other brands of products.

Trackbacks/Pingbacks

  1. CAA News | College Art Association » Blog Archive » News from the Art and Academic Worlds | CAA - August 24, 2016

    […] While the practice of pouring is certainly not a new way to apply paint, achieving consistent results can be frustrating and costly. Therefore it is vital to the process to conduct experiments to gain the knowledge of what are the most critical controlling factors that preside over paint pours. (Read more from Just Paint.) […]

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