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If it makes you feel any better, the mechanism at work touches upon fluid dynamics, which Einstein proclaimed was well beyond his reach
I would suggest, take careful note of your process and note when the cells you like form. Did they progressively disappear with “drying”? Try another set up, but stop half way, two-thirds into the process and see if the “drying” process creates the cells, rather than creating cells and then have “drying’ fully mix the cells you desire away. Change only one variable at a time in your tests. Same mixes, just change timing as I’ve just suggested. Then again with everything the same, only one other thing changed. Great fun!
Also, yes the process is created in part by differing density, but the process is slowed down by differing viscosity (two different things) ~ and that’s certainly true in liquids, but paints contains particles as well and they contribute a whole other suites of complex physical processes. Different pigments in paint have different specific gravity, and by their differing nature the pigment is in different “media” i.e. binder etc. So carefully observing what happens with each paint itself.
Good luck!
Cheers
Good advice Red. I’m guilty of impatience when it comes to watching paint dry. And indeed cells do develop during the drying process, some stay but many morph into a regular old paint pour – because even though it doesn’t appear to be moving anymore – IT IS. Come back 20 minutes later and… Maybe – I should damn the sides to prevent movement. That may help.
Thank YouIf it makes you feel any better, the mechanism at work touches upon fluid dynamics, which Einstein proclaimed was well beyond his reach
I would suggest, take careful note of your process and note when the cells you like form. Did they progressively disappear with “drying”? Try another set up, but stop half way, two-thirds into the process and see if the “drying” process creates the cells, rather than creating cells and then have “drying’ fully mix the cells you desire away. Change only one variable at a time in your tests. Same mixes, just change timing as I’ve just suggested. Then again with everything the same, only one other thing changed. Great fun!
Also, yes the process is created in part by differing density, but the process is slowed down by differing viscosity (two different things) ~ and that’s certainly true in liquids, but paints contains particles as well and they contribute a whole other suites of complex physical processes. Different pigments in paint have different specific gravity, and by their differing nature the pigment is in different “media” i.e. binder etc. So carefully observing what happens with each paint itself.
Good luck!
Cheers
Just wanted to thank you KolinskyRed. Your suggestion of stopping halfway & 2/3rds throughout with recorded observation was constructive. And how important is it to keep a logue of each experiment :eek:!
Not ready for the BIG substrate yet, but getting closer. Thanks.If it makes you feel any better, the mechanism at work touches upon fluid dynamics, which Einstein proclaimed was well beyond his reach
I would suggest, take careful note of your process and note when the cells you like form. Did they progressively disappear with “drying”? Try another set up, but stop half way, two-thirds into the process and see if the “drying” process creates the cells, rather than creating cells and then have “drying’ fully mix the cells you desire away. Change only one variable at a time in your tests. Same mixes, just change timing as I’ve just suggested. Then again with everything the same, only one other thing changed. Great fun!
Also, yes the process is created in part by differing density, but the process is slowed down by differing viscosity (two different things) ~ and that’s certainly true in liquids, but paints contains particles as well and they contribute a whole other suites of complex physical processes. Different pigments in paint have different specific gravity, and by their differing nature the pigment is in different “media” i.e. binder etc. So carefully observing what happens with each paint itself.
Good luck!
Cheers
To create cells I’ve seen the artist use a torch (like the cooking ones) over the poor, so it changes the density of the paint with the heat.
Hope it helpsFederico Garcia
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"...when someone gives a critique of your work, fear not. It usually means they like or care more of your work than when they just pat your back." - Tiago
I’ve been playing with pours a bit lately. One thing about Arthur (whose work is amazing, is that he acheives” “fluid like cells”, with the use of acrylic paints and other chemical agents. In his figurative works, these unconventional methods are used as bottom layers or the “skins” of his subjects. Arthur uses anywhere from 4 to 15 layers of clear resin between layers of acrylic paint, pigmented inks, and spray paint to show depth, giving a 3D effect.”
So you may need want to consider, in addition to pouring mediums and a heat source, agents like silicone or Floetrol. Also note that he uses resin in between layers. Not only would that create a clear barrier for the next layer, pouring onto resin will yield different effects than pouring onto gesso, paper, a panel, or more paint.
Notes are key. So is a lot of paint
. If I can manage “big cells” I will let you know! The best I’ve had were small ones.
FYI just be extremely careful with a heat source and these oils. Some will have fumes that can be flammable.
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