Because I really enjoyed painting Ken Tye’s magnificent profile, later that same year, I revisited my reference to make a more loose representation, from a slightly different angle. To prevent me getting too twiddly with my brushwork, I selected a No.4 Filbert as my smallest brush.
Working with a larger than usual brush focusses the mind and requires a more economical approach to laying down paint.
My usual practice is to lay down the major shapes before blending the transitions to deliver a smooth feel to the flesh. In this instance, I skipped the blending stage, so it was a case of placing my marks with the No.4 Filbert, which is approx 7mm wide, and leaving them be.
Because I really enjoyed painting Ken Tye’s magnificent profile, later that same year, I revisited my reference to make a more loose representation, from a slightly different angle. To prevent me getting too twiddly with my brushwork, I selected a No.4 Filbert as my smallest brush.
Working with a larger than usual brush focusses the mind and requires a more economical approach to laying down paint.
My usual practice is to lay down the major shapes before blending the transitions to deliver a smooth feel to the flesh. In this instance, I skipped the blending stage, so it was a case of placing my marks with the No.4 Filbert, which is approx 7mm wide, and leaving them be.
Unframed.