Demonstration of the Spray Medium

[Cennini]

Demonstration of the Spray Medium
by Bill Martin
http://www.wfmartin.com/

I recently received my order of Studio Products Spray Medium. I am beginning a portrait, using your blur technique, and am now experiencing the use of your recommended medium to go along with that painting technique.

In trying my best not to appear overly exuberant, let me begin by saying that it is absolutely magnificent! And in accomplishing my initial 'rough-in', it was (and is) as smooth as silk! You were absolutely correct in recommending this medium for the style in which you understood that I paint. In using this medium for a really short time, now, I have been brought to the understanding of the advantages of how a well-selected medium can, indeed, improve one's work by simply modifying the paint handling characteristics. Please keep in mind the fact that I had already been experiencing REASONABLY good success BEFORE trying your Spray Medium. But, this medium, I believe, has actually provided me with some capabilities that I truly did not have before.

I'm finding it a bit difficult to keep the spray uniform and to a coating appropriately thin enough so as to not drip, but I have been glancing reflected light off the surface, and simply taking a wide brush and evening the coating out to a very light application so that the entire surface appears to have the same "sheen". That technique has worked like a charm.

Being a 'dipper' when it comes to medium, I find myself reaching for the cup on my palette, but after a couple of hours, have just about broken that habit, as the medium on the surface seems quite capable of supplying the proper lubrication throughout the painting of the layer in question. The first time I used it, I actually did pour a bit into my medium cup, as well as spraying it onto the painting surface, but soon realized that I truly did not need it. It seems to keep my painting surface "open" long enough for me to do my work, but also dries overnight, and I'm painting again within 24 hrs.

At the rate of application, this bottle might last me a couple of years! A little does go a LONG way, it seems, and I am enjoying using it tremendously. Thank you, again!

Contrary to what you might have believed before, the recreating of the tones, shapes, positions, and colors of a blurred reference photo is unbelievably easy to do. It is that aspect of this method which makes it so trouble-free and consistent in its result. The "trick" (if there is a trick) is to take your time, and get the initial rough-in from the extremely blurred photo just as close to the photo as possible. Don't be hesitant to take two or three sessions in getting this initial rough-in as perfect as you can. Exact coloring is less important than the positioning of elements and the correct amount of blur.

I think I used only three or four tubes of paint for this rough-in. The colors were: Fr. Ultramarine Blue, Burnt Umber, Venetian Red, Yellow Ochre, and, of course, Flake White. It seemed that this subject called for no more than a fairly limited palette, so that's what I used.

I'm quite pleased with my results, so far, and I've fairly well met my objectives for the initial blur. Perhaps a few touch-ups, and then, on to my next sharper reference photo.

I have a bit of work to accomplish on this painting, yet. But, I am nearing the completion of it. It has been entirely painted using S. P. Spray Medium. One thing I am noticing about the Spray Medium is that it does not have the tendency to dry with high and low areas. It maintains a very nice velvety "sheen" to the entire painted surface.

I'm taking a little artistic license at this point with items such as the background, sweater, etc. Since I'm down to the detailing stage, I've been 'poofing' a bit of Spray Medium into the palette cup, and dipping it as I mix my paint on the palette for detail, such as eyes and hair. While I'm actually not one who believes in 'painting every hair', it do feel it necessary to detail the prominent hairs. I am finding this Spray Medium is just excellent for doing this sort of fine detail work. A rigger brush + Spray Medium + a few earth colors = realistic hair.

This is the 'easy' part. The difficult part is in the initial stage where 'things' and 'shapes' have to be put in the correct position and at the correct sizes. This Progressive Focus Method solves that problem at least it has helped solve it for me. I intend to do some more refinements on the background wall, yet, and then will soon be finished.

My total palette for these last layers is as follows: Fr. Ultramarine Blue, Burnt Umber, Burnt Sienna, Cad. Red Deep, Cad. Red Light, Raw Sienna, Yellow Ochre, Naples Yellow, Alizarin Crimson, Ivory Black, Flake White.

...the photo of my overall set up and two detail photos of my painting...

I'm nearing completion on this...Accomplished with no pencil drawing or sketch, and using Studio Products Spray Medium exclusively on this painting.