Monochrome Figure Study
9" X 12"
Oil on Paper
2014
Working with a full figure composition on such a small scale can be a bit daunting as in this 2 Hr. study. It's almost more time consuming than working larger; which is a bit counter intuitive. The difficulty lies in the fact that very small nuances in how the strokes are arranged can make a big difference, so you have to work much more slowly and delicately.
Also, I tend to work with flat brushes with the paint laid down in single strokes, and at this scale it's very challenging to work this way. Which is why many small works are done with round brushes and not flats or brights. With rounds, very thin and wide strokes can be made with the same brush, but with flats or brights the smallest stroke possible is very much determined by the brush's width. Granted, it's possible to use the side of the brush for width variability with flats and brights. Although in my experience this tends to more quickly destroy the chisel edge and make the bristles blow out of shape.
Working with a full figure composition on such a small scale can be a bit daunting as in this 2 Hr. study. It's almost more time consuming than working larger; which is a bit counter intuitive. The difficulty lies in the fact that very small nuances in how the strokes are arranged can make a big difference, so you have to work much more slowly and delicately.
Also, I tend to work with flat brushes with the paint laid down in single strokes, and at this scale it's very challenging to work this way. Which is why many small works are done with round brushes and not flats or brights. With rounds, very thin and wide strokes can be made with the same brush, but with flats or brights the smallest stroke possible is very much determined by the brush's width. Granted, it's possible to use the side of the brush for width variability with flats and brights. Although in my experience this tends to more quickly destroy the chisel edge and make the bristles blow out of shape.
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