Friday, September 25, 2015

Daisy Doings - Pouring

I have been wanting to try Pouring Watercolor for quite a while now.
I've watched many demos and gathered my supplies.

So here goes!

First, you need a simple "cartoon" drawing outlining
shapes where values change.

This is my second pour. The first was using only yellow and red.with no mask.
I use a Windsor & Newtown masking fluid to cover shapes I want to keep at a desired value.
With each pour a new mask is applied.
I am using a soft wide brush to rewet the paper before each pour.
If you don't the pour does not move around well on the surface.

So after remasking, pouring and drying five times
(which took three days)
 this is what I am left with before removing the mask.
Promising, or so I thought.

Mask removed and YIKES!  What happened to all my bright, georgous color?
The mask has picked up the color as it was pulled away from the paper.
I don't use mask over color on my paintings so didn't realize it would take away so much paint.

The only thing I can think of is the quality of paint.
I did not want to "waste" my good WN or Daniel Smiths on this so went with the Grumbacher.
Maybe the better quality paints stain the paper better with less lift?
Lesson learned.

So I went back into it very carefully in an attempt to bring back the original color.
Much better.

I do love the look of poured paintings.
They have a beautiful old time reproduction quality.

As a detailed, realistic painter, this process forces me to simplify shape and color.
This always helps in composing any picture I may choose to work on.

I am not a fan of the process.
I do not shy away from complicated details but at the end of the day I can
step back and examine what I've done with my time.  Pouring goes on for days.
Pour artists usually keep two or more paintings going at a time because
there is so much down time in between pours.

 I missed using my brushes.

I followed the purest route on this using only the three primary colors.
I think I might like a more free flow pour with less masking and using colors of my choice.

But I won't totally abandon the process.
I foresee incorporating this into my regular painting for backgrounds and under paintings.


  1. Wow - never had that happen with a pour. Lots of extra work for you, but the result is worth it. Beautiful!

    1. Thank you Chris. What do you think I did wrong? Was it the paint?
      My paper was 140lb Arches.

  2. I really dislike using masking fluid. Lifting of pigment occurs quite frequently when I use it. Seems like an awful lot of work when the same results can be achieved with simpler, more rewarding techniques. Your outcome was successful though. Kudos for trying something new!

  3. Thank you Sandy and i agree. Although i have a new respect for the work pour artist do, it felt a bit mechanical to me.
    At the NWWS Convention I was in a workshop with Birgit O'Connor. She does a free flow pour that lends beautful gradated
    results. I'll try that sometime. Thanks again.
    Your abstracts this month are stunning!


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