Brian Clegg

Process

• No preparatory studies or designs are necessary to complete this piece

• The paint should remain undiluted at all times. Do not use any water with this project, other than at the end for cleaning tools

• Cut the credit card/plastic into 3 or 4 rectangular shapes of different widths, ensuring the pieces are still large enough to be handled easily (these will be used later to scrape a pattern into the paint)

• Using a sharp pair of scissors, make "v" shaped cuts of varying widths and depths into one edge of the pieces of card

• If lighter than 140lb, wet and stretch the paper

• Allow to dry

• Create a random abstract pattern of torn newspaper strips glued to some parts of the stretched paper surface - leave areas of white paper exposed in places

• Allow to dry

• Using a palette knife, apply a layer of concentrated heavy body paint, to the surface in medium sized, randomly defined areas. For the best effect choose strong primaries.

• Immediately, scrape this layer off completely, leaving only a coloured stain against the white paper and newspaper. This is called a "dry wash"

• Allow sections of the underlying newsprint text to grin through the paint stain layer

• Discard the removed paint

• Progress in small patches or strips. repeating the previous four steps until the whole surface is covered with different coloured stains or "dry washed" areas

• When dry, create a single geometric shape anywhere over the top of the brightly stained layer using a strong darker colour

• This time, apply the paint very thickly with a palette knife (approx 304mm or thicker)

• Immediately, and before the paint dries, use the cut credit card pieces to score into this wet layer of paint, exposing the coloured stain beneath

• In this way create a sgraffito pattern of your choice in the wet surface

• Discard the removed paint

• Apply a second similar geometric shape, perhaps of a different size proportion and colour, to another area of the painting - not next to the first shape which may still be wet

• Repeat the sgraffito process, using the cut card pieces to create a slightly different but related design to the first

• Continue in this way, building up an abstract design of block-like shapes of varied sizes, until the whole picture area has been covered with blocks of thick paint and sgraffito patterns

• Avoid working next to adjacent shapes until they have dried completely

• Once the whole painting is dry it is also possible to work over the surface with dry "scumbles", wet washes or glitter glue highlights

Process

• Identify an appropriate design preferably a “firsthand” sketchbook study or a modified photograph

• Sketch the image/design directly onto the paper using very thin acrylic

• Block in shapes - working in all areas simultaneously - using a heavier acrylic mix

• Apply undiluted paint directly to the picture using a palette knife - layer the paint thickly, building a conspicuous textured surface which is sympathetic to the characteristics of the subject

• Overlay paint to build a rich patina and deep variegated colour

• Build texture into the surface by layering undiluted acrylic paint in a dry scumble

• Overlay at anytime with transparent acrylic glazes to alter or enhance the colour

• Complete with rich toned details and sgraffito for interest

Process

• Wet the paper and fasten to the board using gummed tape - allow to dry

• Using a palette knife loaded with dry paint, straight from the tub, trowel the colour, in a thick layer, to the identified areas of the design, exploiting the texture of the undiluted paint - allow to dry

• Repeat the preceding process as often as required using other contrasting colours (remembering not to add water to the paint)

• Finish with detail using a piece of card cut to shape, and heavy opaque colours, until the design is complete

Process

• Identify an appropriate design preferably a “firsthand” sketchbook study or a modified photograph

• Lightly sketch the image/design directly onto the paper using a 2B pencil

• Apply a resist medium or wax to identified areas and allow to dry

• Beginning with the lighter tones, block in shapes – working in all areas simultaneously – using very diluted acrylic paint

• Always work from the light colours to the darker colours

• Overlay paint to build a rich patina of deep transparent colour

• Overlay with transparent glazes frequently to alter or enhance the colour

• Using a dry, but nonetheless thin mix, gently scumble over selected sections of the design to create a variety of contrasting coarse textures

• Complete with rich toned details

Process

• Wet the paper and fasten to the board using gummed tape - allow to dry

• Using a palette knife loaded with dry paint, straight from the tub, trowel a bright colour, in a thin layer, to the identified areas of the design

• Repeat the preceding process as often as required using other primary colours to build the undercoat for the design (remember -don’t add water to the paint) - allow this first layer of colour to semi-dry

• Again using a palette knife loaded with dry paint, straight from the tub, trowel a darker colour, in a thick layer, over the top of the previously painted areas of the design

• Whilst this second layer of paint is still wet, incise detail into the paint to reveal the brighter colour of the first layer of paint - sgraffito

• Repeat the preceding process as often as required, using other darker shades and colours

• Finish with detail using a piece of card cut to shape, and heavy opaque colours until the design is complete