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

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

• Spray the surface of the paper lightly with clean water

• Using the Hake (wash brush) to lift a brush full of thinly diluted paint from the tub

• Apply the paint swiftly, covering the whole area of the dampened sheet

• Whilst this layer is still wet, quickly apply your chosen design using a slightly heavier mix of paint - wet-in-wet, allowing the colours to feather and bleed

• Once this layer has dried, complete the detail with other layers of a heavier mixed paint, using darker or richer tones

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

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

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

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

• Beginning with the lighter tones, block in shapes - working in all areas simultaneously - using very diluted ink

• Always work from the light colours to the darker colours

• Overlay inks to build a rich patina and deep colour

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

• Complete with rich toned details