Brian Clegg

Process

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

• Using a dry, broad bristle brush, loaded with dry paint, apply the colour swiftly to the identified areas of the design, brushing lightly in order to exploit the texture of the dry paint and the paper - allow to dry

• Repeat the preceding process as often as required using other contrasting colours until the design is complete (remembering to add little or no water with the paint)

• Finish with detail using a finer bristle and heavy opaque colours

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

• 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