Brian Clegg

Process

• Create a simple random pattern by squeezing the paint directly from the bottle onto half a side of a sheet of paper - use single colours, or a couple of different colours only

• Fold the paper in half onto its self, causing the paint to print, smear or sguidge

• Repeat this process several times using different papers and a variety of colour combinations.

• Experiment in the same way by applying the paint to a sheet of ace tate plastic or thick glass, then pressing the papers onto the painted surface, again allowing the paint beneath to print, smear or squidge

• Allow all prints to dry thoroughly

• When dry cut out shapes from the squidged prints following their natural outlines

• Using your imagination glue the cut out shapes onto a piece of different coloured paper to create collages, of either abstract patterns or realistic pictures of landscapes, animals or faces for example

• Experiment placing pieces of the painted acetates over the top of your collage for transparent effect

• It is possible to work back into these collages using heavier paint to create dream-like or “surreal” images as the 20c German artist Max Ernst did - these pieces are known as “frottage”

• These patterns also present an exciting and unusual base for graphic designs and an inviting contemporary background for the addition of text in a modern font style

Process

Stencil:

• Identify appropriate design from “first hand” sketches of real leaves

• Lightly sketch the leaf shapes onto the thin card using an HB pencil

• Carefully cut out the leaf shapes using scissors or a sharp knife

  (Retain the negative cut-out shapes for printing option)

• Using the positive part of the stencil, stipple colour through onto the fabric, beginning with the lightest shades/tones

• Use the stencil, several times in different positions to create an overall balanced design

• Allow this layer of colour to dry before overlaying the detail in darker colours and tones, using free-hand painting

Print:

• Follow the process as in bullet points 1 and 2 above - then -

• Apply the fabric paint to one side of the negative cut out leaf shape

• Working quickly, use the painted leaf shape to print an image onto the fabric

• Allow this layer of colour to dry before overlaying the detail in darker colours and tones, using free-hand painting

Process

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

• Transfer the design to the cardboard using a 6B pencil

• Coat selected sections of the block with a heavy layer of PVA, avoid covering the whole block as the glue will dry too quickly

• Inscribe the design into the layer of glue using any of the tools previously assembled

• Give the block at least 12 hours to dry thoroughly in a warm environment

• When the glue has dried, paint the whole block - front and back – with 2 coats of white emulsion paint, allowing the paint to dry between layers

• Roll up the printing ink onto the inking tray to a thin “hissing” consistency (begin with the lightest tone)

• Using the same roller, apply the ink to the block in an even, consistent layer

• Place the block - ink side down - onto the cartridge paper

• Making sure the block doesn’t slip, turn the paper and block over

• Using a clean roller apply pressure all over the back of the paper observing the limits of the block

• Lift the corners of the paper just a little without removing it completely in order to observe the quality of the print - replace the paper and apply more pressure if required

• Repeat the rolling, inking and printing process to create a larger

Process

• Create a free-hand abstract design directly onto the paper using very diluted colour (as in the illustration). Or, Identify an appropriate design preferably a “firsthand” sketchbook study or modified photograph

• Build up the design, shape by shape using very diluted acrylic paint, working in all areas simultaneously

• Beginning with the lighter tones, blocking in shapes - always work from the light colours to the darker colours

• Overlay paint to build a rich patina and deep colour

• Overlay with transparent glazes frequently to alter or enhance the colour - keeping an eye on general composition

• Add areas of pattern using slightly thicker paint

• Experiment with printed or stamped shapes using interesting found objects e.g. corks, the end of a pencil, cut or folded pieces of card board

• Complete with rich toned details

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