How to COLOUR RUB

In this introduction, I begin by showing the Art Stencil Co cloth I use for colour rubbing. The point is that the cloth itself matters: different fabrics pick up, hold and release paint differently, and that affects the marks you can make.

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Here I continue examining the open weave cloth and explaining why it is useful for this technique. Before starting the painting, it helps to understand the character of the material you’re working with and how it will behave in your hand.

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At this stage, I’m still focusing on the cloth and its practical qualities. For colour rubbing, you want something textured that gives you control while still allowing the paint to move and soften across the surface.

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This close look at the cloth reinforces the idea that your tool choice influences the finish you get. The rubbing cloth is not just for wiping — it becomes an active part of the mark-making process.

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Before moving to the canvas, I summarise the role of the cloth in the process. A good colour-rub cloth helps you create softer transitions, move pigment around the surface and build atmosphere without losing energy.

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Here the demonstration moves onto the canvas. I begin applying and rubbing the paint so you can see how the cloth spreads the colour and creates broad, soft-edged passages.

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As more colour is worked across the surface, the rubbing process starts to build movement and structure. This stage shows how quickly a colour rub can establish energy, rhythm and large directional shapes.

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Now the painting is becoming much bolder, with strong contrasts and more dramatic movement through the centre. This is where the colour-rub technique really shows its power to unify and energise the composition.

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By this point, the painting is far more resolved and the overall effect of the rubbed colour is visible. The cloth has helped create a sense of flow and cohesion, while still allowing the painting to feel lively and expressive.

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In this final moment, I return to the finished piece and reflect on the result. The demonstration ties the choice of cloth back to the finished painting, showing how an apparently simple tool can have a major effect on colour, texture and mood.