Robert P. Taylor's: Chippery - Portraits on Paint Chips

First, when initially seen, the chip could be in any orientation at all relative to that revelatory one causes helps one "see" the image lurking in that chip. The chip portraitist must therefore examine the chip in various orientations, from both the front side (the surface which faced the room) and the back (the surface that adhered to the wall), to see if any orientation from either side suggests anything interesting. This is presented in Finding a revelatory orientation.

Second, once examination reveals a lurking image (if indeed any is revealed), then the artist must contemplate the chip and consider which details to add first and how much detail to add overall. Chips are relatively fragile and may break in handling so one can not erase or undo or white out very successfully. Thus one should consider first, then add the next detail. Since the chip's fragility and the general art principle of not over-doing the image would both suggest keeping additions to a minimum, it is wise to do so. The process of adding detail to complete the portrait in the sample chip is illustrated in Realizing the Portrait in the Chip.

Finally, having spotted and realized one image in a given chip, it can be rewarding to re-review the chip, both on the completed side and the blank side, to see if it may not harbor another lurking image as well. Both Two revelatory orientations for one chip and One Chip, Three Portraits demonstrate such a case. This doesn't happen all the time, but is certainly interesting when it does.