Pour 6, on ACEO CB

Getting started… dripped paint mixtures directly on ACEO size canvas board.
WIP: tilt, turn, blow, and even shake a bit trying to control paint flow
Pour #6: colors shift, darken as it dries.
So much for using painter’s tape and handles… still ended up with a messy back.
Finishing back with matte black… signed with my artist symbol.
The “YO” stands for Youngstown, Ohio

Liner Notes

  • PAINT: Plaid Apple Barrel liquid acrylics (black, wild iris, parrot blue); Plaid Extreme Glitter (silver)
  • FLOW MEDIUM: diluted Elmer’s Glue-ALL
  • ADDITIVE: Hoppe’s 9 gun oil
  • GROUND: 2.5 x 3.5 inch (ACEO size) canvas board prepped by covering back with painters tape, adding sticks for handles, and wetting top surface with water.
  • HEAT: waved a Bic lighter and blew on it (so need a torch thing)

Working on the little canvas board was much easier to control the flow, perhaps because ACEO is my favorite size. Stick handles helped, kept my fingers off the edges. I still ended up with a messy back.

I’m not sure if adding a couple drops of gun oil did anything. I used it because don’t have any silicone, which is the suggested additive in most of the tutorial videos, and figured Hoppe’s 9 is one of the best “fine oils” for anything. I’ll buy silicone and one of those heat torch things when I’m able to go shopping again. I don’t wander much when the streets are icy.

Oh, I’ve been making ACEO size art for so long that I forget that not everyone know what an ACEO is… ACEO is an acronym for “Art Cards, Editions and Originals” which is just miniature art, any medium, that measures 2.5 x 3.5 inches. Most are thin like sports cards, but there is no rule on thickness. Some people call this size ATC for “Artist Trading Cards” and yes, ATC and ACEO are the exact same size. It’s one of those things that are the same but not the same… the only difference is what you do with them. Artist Trading Cards are meant to be traded (never sold) and traded exclusively between artists as a means to network, share techniques, etc. Call it an ACEO and you can do whatever you want with it… sell it, trade it, no exclusive bull, anyone (not just artists) are “allowed” to collect art in this size. Considering the old masters traded (or sold) their art cards for food, lodging, and other things they needed; I stand with the ACEO crowd.

Thanks for reading!


Acrylic Pour No.2

My second pour attempt turned out so much better than the first.

Liner Notes:

  • PAINT:  little bottles of liquid craft acrylics
  • COLORS:  Royal Purple, Vanilla Ice Cream, Pure Gold, Black
  • FLOW MEDIUM:  diluted Elmer’s GLUE ALL
  • ADDITIVE:  hair clipper oil (didn’t have silicone OR hair oil, figured close enough)
  • GROUND:  same sheet of 140 lb., 100% cotton, cold pressed watercolor paper.
  • METHOD:  drizzle/pour paint mixtures directly onto ground
  • BLOW TORCH:  no

The biggest surprise discovered about pouring on nice thick cotton paper was how good it feels, almost like a leather or something, after it dried. Yes, it warped a bit as it was drying, but a little flexing made it flat again. When you pour on paper, you can cut out interesting areas as smaller art or for other uses, perhaps to make a cover for a homemade journal book.

I’ll experiment with other grounds later… right now, I’m playing with paper.

UPDATE: I chopped it up.

Yield: one 5×5, a bookmark, 4 ACEO’s, and (on far right) a folded book cover.
Inside the little handmade book, 28 pages (7 folios) using 50 lb sketch paper.

Thanks for reading!

First Pour


Trying something new… it’s called an “Acrylic Pour” painting. I watched enough YouTube tutorials to notice a lot of conflicting information about what to do or not do, use or not use, so I’m just going to have to experiment with different things and learn as I go.

Welcome to my Weekly Pour, with liner notes kept here on this blog.

Here’s the basics gleamed from tutorials:  acrylic paint is mixed ye 1:1 with some kind of flow medium (purchased or glue based), thinned with water if necessary, and some people add drops of some sort of additive (silicone, coconut hair oil, isopropyl alcohol, etc.) to promote cell formation. Then the paint mixtures are (a) layered in a cup that has or has not been lubricated, which is flipped upside down onto the ground (everything from “only use” gallery stretched artist grade canvas to squares cut from ordinary ol’ cardboard boxes were shown in videos) that may, or may not have been prepped with gesso, paint, or water. OR, (b) poured directly onto the ground by a method or any ol’ way you please. Patience required. Let it rest a bit before lifting cup (if dumping from a cup) and rest again before slowly tilting your ground this way or that in an attempt to make the paint flow in a manner that pleases you and covers the entire ground. Use a blow torch, if desired, to help raise cells. You can also blow air through straws, dab drips or add leftover paint mixtures to achieve desired effects. Dry time varies from 24 hours to darn near a full week.

What I tried: this was a complete “use what you got” experiment. Yep, and glass shot glasses will do if you don’t have a stash of little plastic cups.

  • PAINT: little bottles of Plaid brand craft acrylics EXCEPT for the white. I had an old, almost dried out, tube of Titanium White from Winsor & Newton’s discontinued line of Finity Acrylics that I diluted with water to the consistency of the craft paint. I know that mixture was nice and smooth and totally lump free as I used a little wire wisk to mix it.
  • FLOW MEDIUM: used the 65% Elmer’s GLUE ALL recipe, 35% water.
  • ADDITIVE: just a tiny smidgen of 91% isopropyl alcohol added to each color
  • GROUND:  Since it’s just a practice piece, I used an old discolored sheet of 140 lb, 100% cotton, cold pressed watercolor paper that I prepped by wetting with water on both sides.
  • METHOD: layered paint in two Tupperware Midgets that I had lightly greased with coconut hair balm (as a release agent), flipped both upside down, let it rest awhile, then lifted the cups (in the sliding motion shown in tutorial videos) to let the paint flow. Let it rest again, then started tilting the ground.
  • RESULTS: Complete disaster!!!


Talk about a royal muddy mess with little white globs that looked like cottage cheese floating all over my paper! Oh my gosh… I was grabbing paper towel and soaking up left and right… photo snapped after I got as much off as possible.

So, what the hell happened?

Well, for starters, chemistry! Apparently, the Titanium White had some kind of delayed reaction to the alcohol, something in the glue, or maybe even contact with the trace amount of hair balm that lubed the pouring cup, as it went in smooth and came out lumpy. It didn’t seem to bother the craft paints. As the white was vacating, they started blending together, having a little mixer party in the cup.

Give up?

Nah… on to the next pour, using this same sheet of paper. I’ll post that next.

Thanks for reading!