I'm still chipping away (literally in some cases) at the fresco. Here are some images showing where the image is today, which takes you all the way to my latest section, a 4.5 foot-tall face (a couple images down). In Sr. Wiley fashion, this face alone is the result of a working session that began at 8am on one day and ended at 5am the next (21 hours total, 12+ were actual painting).
A note: traditionally fresco paintings are completed sectionally in horizontal rows, starting at the top of the mural. This helps ensure that unexpected drips fall onto unfinished portions of the painting, rather then sections that were completed the day before. Despite the logic of this practice, and with great caution, I've chosen to work the figures first, irregardless of their vertical placement. I plan to finish the negative spaces between them, which include transparent echoes of figures towards the end of the fresco.
This is my palette. It includes cups of fresco-safe pigments ground in water. I mix colors (mostly) by layering transparent glazes from this basic set. I use paper towels to control the amount of water in my brush, which helps prevent dripping and allows me to respond to the plaster's changing thirst, with more or less wetness.
Traditionally painters squeeze out excess water and paint from brush with their finger tips. I've opted not to squeeze and instead use paper towels to control the water because some of the pigments are toxic.
The irregular white border around these figures will be carefully chipped away with a sharp chizel before working on sections that bump up to these figures.