mark@markspencer.studio

My Mockup

process

From Digital Direction to Direct execution. My process is built on the pursuit of efficiency. I believe the time spent at the easel should be focused entirely on the decisive application of paint to the panel. To achieve this, I utilize a rigorous pre-production phase to architect my vision before the first brushstroke is ever made.

I develop my references through a hybrid of modern and traditional tools—including digital drawing, photo apps, and AI generative tools—to explore lighting, mood, and composition. Having spent years mastering the fundamentals of traditional sketching, I now use these advanced tools to "direct" my compositions. I can take an initial sketch or an old color study and use these tools to stress-test the concept. From there, I meticulously modify and re-render every element using digital apps until I have a complete, technical roadmap. The time spent making a quality reference is immeasurable. It is non-negotiable and pays dividends.

I embrace modern technology as a digital drafting table. There is truly "nothing new under the sun," and art history is a record of artists leveraging every available technology to expand their vision.


My living- studio #2

An artist painting an abstract portrait of a woman on a canvas, with a reference image pinned to the wall behind.
A wooden art display rack holding several paintings, situated near a fireplace and a portable heater on the carpeted floor.

About a year ago I made the decision to create a second studio near my living area so I could make even an hour of painting; something that maximizes my time. Having 3-4 paintings running concurrently increases production and eliminates the fatigue associated with working the same piece each session.

My Supports

Various pieces of white painted wood paneling and molding laid on a beige carpeted floor, with some boxes and a green electrical cord in the background.

9mm panels in process.

The integrity of the painting starts with the support. I prefer painting on a base layer of Lead Ground, which requires a rigid support, so my default preference is 6-9mm Baltic Birch (B/BB grade) panels (No added Formaldehyde). I special order these from a supplier in Wisconsin. They are prepared to a rigorous archival standard:

  • Triple-Sealed: Every panel is sanded and triple-sealed on all six faces using GAC100 acrylic sealer and synthetic white shellac primer to prevent moisture penetration, SIC, and ensure longevity.

  • The Ground: I apply three foundational coats of gesso, followed by a final lead based ground (Natural Pigments brand), or a specialized gesso layer along with 1-2 coats of Krylon acrylic matte to achieve the specific absorbency required for the piece. The final type and texture is predetermined for style and technique.

  • Alternative Supports: I also utilize Aluminum Composite panels (ACM), Ampersand tempered hardboard, and Centurion linen panels. Professional-grade gallery wrapped canvas, and cradled panels are for larger-scale works.

  • My oil paint brands are Tusc and Pine, Richeson, Williamsburg, and Windsor & Newton. On occasion, I will hand make small batches from dry pigment; (That’s a Zen thing mostly).

  • All paintings are varnished using Gamvar products.