frescoes-msg - 10/11/09 ਀ഊCreating frescoes. Fresco being water-based paint on wet plaster. The color sinks in and produces a very pretty and long-lasting painting, which won't disappear until the plaster itself is worn away. ਀ഊNOTE: See also the files: plaster-msg, Relief-Carvng-art, sculpture-msg, tiles-msg, pottery-msg, tiles-art. ਀ഊ************************************************************************ ਀一伀吀䤀䌀䔀 ⴀഊ ਀吀栀椀猀 昀椀氀攀 椀猀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 瘀愀爀椀漀甀猀 洀攀猀猀愀最攀猀 栀愀瘀椀渀最 愀 挀漀洀洀漀渀 琀栀攀洀攀 琀栀愀琀 䤀 栀愀瘀攀 挀漀氀氀攀挀琀攀搀 昀爀漀洀 洀礀 爀攀愀搀椀渀最 漀昀 琀栀攀 瘀愀爀椀漀甀猀 挀漀洀瀀甀琀攀爀 渀攀琀眀漀爀欀猀⸀ 匀漀洀攀 洀攀猀猀愀最攀猀 搀愀琀攀 戀愀挀欀 琀漀 ㄀㤀㠀㤀Ⰰ 猀漀洀攀 洀愀礀 戀攀 愀猀 爀攀挀攀渀琀 愀猀 礀攀猀琀攀爀搀愀礀⸀ഊ ਀吀栀椀猀 昀椀氀攀 椀猀 瀀愀爀琀 漀昀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 昀椀氀攀猀 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ 吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ ਀䤀 栀愀瘀攀 搀漀渀攀 愀 氀椀洀椀琀攀搀 愀洀漀甀渀琀 漀昀 攀搀椀琀椀渀最⸀ 䴀攀猀猀愀最攀猀 栀愀瘀椀渀最 琀漀 搀漀 眀椀琀栀 猀攀瀀愀爀愀琀攀 琀漀瀀椀挀猀 眀攀爀攀 猀漀洀攀琀椀洀攀猀 猀瀀氀椀琀 椀渀琀漀 搀椀昀昀攀爀攀渀琀 昀椀氀攀猀 愀渀搀 猀漀洀攀琀椀洀攀猀 攀砀琀爀愀渀攀漀甀猀 椀渀昀漀爀洀愀琀椀漀渀 眀愀猀 爀攀洀漀瘀攀搀⸀ 䘀漀爀 椀渀猀琀愀渀挀攀Ⰰ 琀栀攀 洀攀猀猀愀最攀 䤀䐀猀 眀攀爀攀 爀攀洀漀瘀攀搀 琀漀 猀愀瘀攀 猀瀀愀挀攀 愀渀搀 爀攀洀漀瘀攀 挀氀甀琀琀攀爀⸀ഊ ਀吀栀攀 挀漀洀洀攀渀琀猀 洀愀搀攀 椀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀 愀爀攀 渀漀琀 渀攀挀攀猀猀愀爀椀氀礀 洀礀 瘀椀攀眀瀀漀椀渀琀猀⸀ 䤀 洀愀欀攀 渀漀 挀氀愀椀洀猀 愀猀 琀漀 琀栀攀 愀挀挀甀爀愀挀礀 漀昀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀 最椀瘀攀渀 戀礀 琀栀攀 椀渀搀椀瘀椀搀甀愀氀 愀甀琀栀漀爀猀⸀ഊ ਀倀氀攀愀猀攀 爀攀猀瀀攀挀琀 琀栀攀 琀椀洀攀 愀渀搀 攀昀昀漀爀琀猀 漀昀 琀栀漀猀攀 眀栀漀 栀愀瘀攀 眀爀椀琀琀攀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀⸀ 吀栀攀 挀漀瀀礀爀椀最栀琀 猀琀愀琀甀猀 漀昀 琀栀攀猀攀 洀攀猀猀愀最攀猀 椀猀 甀渀挀氀攀愀爀 愀琀 琀栀椀猀 琀椀洀攀⸀ 䤀昀 椀渀昀漀爀洀愀琀椀漀渀 椀猀 瀀甀戀氀椀猀栀攀搀 昀爀漀洀 琀栀攀猀攀 洀攀猀猀愀最攀猀Ⰰ 瀀氀攀愀猀攀 最椀瘀攀 挀爀攀搀椀琀 琀漀 琀栀攀 漀爀椀最椀渀愀琀漀爀⠀猀⤀⸀ഊ ਀吀栀愀渀欀 礀漀甀Ⰰഊ Mark S. Harris AKA: THLord Stefan li Rous ਀                                          匀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************ ਀ഊDate: Mon, 18 Aug 1997 22:54:10 -0400 ਀䘀爀漀洀㨀 䴀愀爀最漀 䰀礀渀渀 䠀愀戀氀甀琀稀攀氀 㰀䠀愀戀氀甀琀稀攀氀 愀琀 挀漀洀瀀甀猀攀爀瘀攀⸀挀漀洀㸀ഊTo: A&S List ਀匀甀戀樀攀挀琀㨀 猀漀甀爀挀攀 昀漀爀 瀀椀最洀攀渀琀ഊ ਀吀栀椀猀 昀爀漀洀 䴀椀猀琀爀攀猀猀 䄀椀搀愀渀Ⰰ 䌀☀䤀 䰀愀甀爀攀氀 昀爀漀洀 䌀愀氀漀渀琀椀爀ഊnow living in Al-Barran in the Outlands: ਀ഊ--------------- Forwarded Message --------------- ਀ഊI just got a great catalog in the mail--chock full of "real" pigments, ਀椀渀 焀甀愀渀琀椀琀椀攀猀 昀爀漀洀 ㄀　　最 琀漀 ㄀ 欀椀氀漀 漀昀 最爀漀甀渀搀 瀀椀最洀攀渀琀猀Ⰰ 愀琀 椀洀瀀爀攀猀猀椀瘀攀ഊprices. It is the Sinopia Pigments and Materials catalog, Fall 97. They ਀愀氀猀漀 栀愀瘀攀 愀 眀攀戀猀椀琀攀 ⠀搀甀栀⤀ 愀琀 栀琀琀瀀㨀⼀⼀眀眀眀⸀猀椀渀漀瀀椀愀⸀挀漀洀⸀ഊ ਀吀栀椀猀 漀甀琀昀椀琀 愀瀀瀀愀爀攀渀琀氀礀 猀瀀攀挀椀愀氀椀稀攀猀 椀渀 猀愀氀攀猀 琀漀 瀀攀漀瀀氀攀 眀栀漀 搀漀 愀爀琀ഊrestoration (!) and frescoes, thus the large quantity. They also sell ਀戀爀甀猀栀攀猀 愀渀搀 瘀愀爀椀漀甀猀 攀焀甀椀瀀洀攀渀琀⸀ഊ ਀䨀甀猀琀 琀栀漀甀最栀琀 䤀✀搀 瀀愀猀猀 琀栀椀猀 漀渀 琀漀 愀渀礀 椀渀琀攀爀攀猀琀攀搀 椀氀氀甀洀椀渀愀琀漀爀 琀礀瀀攀猀⸀⸀⸀⸀ഊ ਀䴀猀⸀ 䄀椀搀愀渀ഊ ਀ഊDate: Thu, 11 Dec 1997 12:15:12 -0600 ਀䘀爀漀洀㨀 匀琀攀瀀栀愀渀椀攀 䌀漀栀攀渀 㰀漀氀最愀 愀琀 椀挀漀渀ⴀ猀琀氀⸀渀攀琀㸀ഊTo: sca-arts at raven.cc.ukans.edu ਀匀甀戀樀攀挀琀㨀 刀攀㨀 䘀爀攀猀挀漀ഊ ਀吀攀搀 䠀攀眀椀琀琀 眀爀漀琀攀㨀ഊ> I attempted to help my 12 year old son, Edmond, experiment with fresco, ਀㸀 眀栀攀爀攀 眀愀琀攀爀ⴀ戀愀猀攀搀 瀀椀最洀攀渀琀猀 愀爀攀 愀瀀瀀氀椀攀搀 琀漀 眀攀琀 瀀氀愀猀琀攀爀⸀  䠀攀 搀椀搀 愀 昀椀渀攀ഊ> job, but within a week, the colors faded away. ਀㸀ഊ> I am unsure what happened because we did use a pigmented paint, not a dye ਀㸀 ⴀ 愀渀搀 眀攀 甀猀攀搀 椀琀 愀 栀椀最栀 挀漀渀挀攀渀琀爀愀琀椀漀渀⸀  䄀渀礀 猀甀最最攀猀琀椀漀渀猀㼀ഊ> ਀㸀 䔀搀眀椀渀Ⰰ 䘀甀氀氀ⴀ琀椀洀攀 䤀搀攀愀氀椀猀琀Ⰰ 倀愀爀琀ⴀ琀椀洀攀 刀攀愀氀椀猀琀ഊ> ਀ഊOk, a correction to my earlier post: "The Artist's Handbook of Materials and ਀吀攀挀栀渀椀焀甀攀猀∀Ⰰ 刀愀氀瀀栀 䴀愀礀攀爀⸀  䤀✀瘀攀 最漀琀 琀栀攀 㐀琀栀 攀搀椀琀漀渀Ⰰ ㄀㤀㠀㄀  䤀匀䈀一 　ⴀ㘀㜀　ⴀ㄀㌀㘀㘀㘀ⴀ㈀⸀ഊThere's an extensive discussion of fresco materials and process, including history and pigment lists. Yep, there's a *big* chemistry consideration- the final painting surface is slaked lime putty...*really* alkaline! Plaster of Paris is gypsum (calcium sulphate), while slaked lime putty is calcium hydroxide. I wonder if it's also possible that the different chemical properties would prevent getting a true fresco result- I bet that gypsum won't "lock in" the pigments the same way slaked lime does, but act more like the description of secco- painting on the dry plaster wall with water-based pigments ground with a binder, like watercolors or tempera. ਀ഊOlga ਀ഊ ਀䐀愀琀攀㨀 吀栀甀Ⰰ ㄀㄀ 䐀攀挀 ㄀㤀㤀㜀 ㄀㠀㨀㈀㤀㨀㌀㔀 ⬀　　　　 ⠀唀吀⤀ഊFrom: Sean Winchell ਀吀漀㨀 匀䌀䄀ⴀ䄀刀吀匀 愀琀 唀䬀䄀一匀⸀䔀䐀唀ഊSubject: Fresco ਀ഊAlthough its not period, and is cheating to a degree, you may want to give the ਀猀甀爀昀愀挀攀 漀昀 礀漀甀爀 挀愀渀瘀愀猀 愀 氀椀最栀琀 猀瀀爀愀礀椀渀最 漀昀 眀栀椀琀攀 瀀愀椀渀琀 昀爀漀洀 愀 猀瀀爀愀礀 挀愀渀⸀ 吀栀椀猀ഊmay spread out through the material, allowing you not so much to paint on the ਀瀀氀愀猀琀攀爀Ⰰ 愀猀 漀渀 琀栀攀 眀栀椀琀攀 猀瀀爀愀礀 瀀愀椀渀琀⸀ഊ ਀ഊDate: Thu, 11 Dec 1997 17:36:11 -0600 ਀䘀爀漀洀㨀 爀漀挀欀眀愀氀氀猀栀椀爀攀 愀琀 眀攀戀琀瘀⸀渀攀琀 ⠀匀栀愀爀攀搀 䄀挀挀漀甀渀琀⤀ഊTo: sca-arts at raven.cc.ukans.edu ਀匀甀戀樀攀挀琀㨀 刀攀㨀 䘀爀攀猀挀漀ഊ ਀刀攀最愀爀搀椀渀最 䘀爀攀猀挀漀 倀愀椀渀琀椀渀最㨀ഊ ਀䴀礀 䰀漀爀搀Ⰰ 礀漀甀 眀椀氀氀 栀愀瘀攀 氀椀琀琀氀攀 猀甀挀挀攀猀猀 眀椀琀栀 猀琀漀爀攀 戀漀甀最栀琀 琀攀洀攀瀀爀愀ⴀⴀ眀栀椀挀栀ഊisn't real tempera paint at all (Try the article I have resident at a ਀猀椀琀攀 䤀 愀洀 戀甀椀氀搀椀渀最 漀渀 椀氀氀甀洀椀渀愀琀攀搀 洀愀渀甀猀挀爀椀瀀琀猀㬀 琀栀攀 猀椀琀攀 椀猀 猀琀椀氀氀 洀愀樀漀爀氀礀ഊunder construction but the tempera article is complete, go to ਀栀琀琀瀀㨀⼀⼀眀眀眀⸀最攀漀挀椀琀椀攀猀⸀挀漀洀⼀䌀漀氀氀攀最攀倀愀爀欀⼀䰀椀戀爀愀爀礀⼀㈀　㌀㘀⼀椀渀搀攀砀⸀栀琀洀氀 愀渀搀 昀漀氀氀漀眀ഊthe links for the article if you want an intoductory article on the ਀搀椀昀昀攀爀攀渀挀攀猀⤀⸀ഊ ਀䄀挀挀漀爀搀椀渀最 琀漀 开吀栀攀 䌀爀愀昀琀洀愀渀✀猀 䠀愀渀搀戀漀漀欀开 ⠀䌀⸀ 䌀攀渀渀椀渀椀Ⰰ 琀爀愀渀猀氀愀琀攀搀 戀礀 䐀⸀嘀⸀ഊThompson and available from Dover), dry pigments were used, some mixed ਀眀椀琀栀 愀 戀椀琀 漀昀 眀愀琀攀爀Ⰰ 戀甀琀 挀氀攀愀爀氀礀 渀漀 琀礀瀀攀 漀昀 瀀愀椀渀琀 挀漀渀琀愀椀渀椀渀最 愀渀礀 琀礀瀀攀 漀昀ഊbinder was used in Fresco. Furthermore, Cennini lists a number of ਀瀀椀最洀攀渀琀猀 琀栀愀琀 眀漀渀✀琀 眀漀爀欀 椀渀 琀栀攀 䘀爀攀猀挀漀 洀攀琀栀漀搀Ⰰ 愀氀琀栀漀甀最栀 琀栀攀爀攀 椀猀 渀漀 眀愀礀ഊI can know what pigments your tempera paints were made from; in honesty, ਀栀漀眀攀瘀攀爀Ⰰ 䤀 眀漀甀氀搀 猀甀猀瀀攀挀琀 琀栀愀琀 琀栀攀礀 眀攀爀攀 愀氀氀 瀀爀漀搀甀挀琀猀 漀昀 洀漀搀攀爀渀 挀栀攀洀椀猀琀爀礀ഊand thus not something Cennini would have much to say about, since he's ਀戀攀攀渀 搀攀愀搀Ⰰ 氀漀 琀栀攀猀攀 洀愀渀礀 礀攀愀爀猀⸀ 一漀渀攀琀栀攀氀攀猀猀Ⰰ 琀栀椀猀Ⰰ 琀漀漀Ⰰ 椀猀 猀漀洀攀琀栀椀渀最 琀漀ഊconsider when asking "What Happened!?" The tempera's pigments may have ਀戀攀攀渀 椀渀挀漀洀瀀愀琀愀戀氀攀 眀椀琀栀 琀栀攀 琀攀挀栀渀椀焀甀攀⸀ 笀䠀攀爀攀 椀猀 愀 氀椀猀琀 漀昀 洀漀搀攀爀渀 搀爀礀ഊpigments that can be used in fresco painting: all Ochres; the following ਀䴀愀爀猀 挀漀氀漀爀猀ⴀⴀ爀攀搀Ⰰ 礀攀氀氀漀眀Ⰰ 漀爀愀渀最攀Ⰰ 瘀椀漀氀攀琀Ⰰ 戀爀漀眀渀Ⰰ 戀氀愀挀欀㬀 嘀攀渀椀琀椀愀渀 刀攀搀㬀ഊIron Oxide red; the Umbers; the Siennas; Green Earth; Viridian Green; ਀䌀栀爀漀洀椀甀洀 伀砀椀搀攀 䜀爀攀攀渀㬀 唀氀琀爀愀洀愀爀椀渀攀 䈀氀甀攀㬀 䌀漀氀戀愀氀琀 戀氀甀攀㬀 䌀攀爀甀氀攀愀渀 䈀氀甀攀㬀ഊIvory Black; Titanium White. MANY DRY PIGMENTS ARE EXTREMELY ਀倀伀匀䤀伀一伀唀匀ⴀⴀ䐀伀一✀吀 䤀一䜀䔀匀吀 吀䠀䔀䴀 䄀一䐀 圀䔀䄀刀 䄀 䘀䄀䌀䔀 䴀䄀匀䬀 圀䠀䔀一 圀伀刀䬀䤀一䜀 圀䤀吀䠀ഊTHEM!} ਀ഊFurther, an excerpt from _Painter's Dictionary of Materials and ਀䴀攀琀栀漀搀猀开㨀ഊ ਀∀一愀琀甀爀攀 漀昀 䘀爀攀猀挀漀 䈀甀漀渀漀㨀 䤀渀 琀栀椀猀 琀攀挀栀渀椀焀甀攀Ⰰ 眀漀爀欀 椀猀 搀漀渀攀 漀渀 愀 眀攀琀Ⰰഊfreshly applied lime-plaster wall with pigments that have been ground in ਀眀愀琀攀爀⸀ 吀栀攀 攀渀琀椀爀攀 挀栀攀洀椀挀愀氀 爀攀愀挀琀椀漀渀 椀猀 戀愀猀攀搀 漀渀 琀栀攀 戀攀栀愀瘀椀漀爀 漀昀 氀椀洀攀⸀⸀⸀ഊ[chemisty stuff snipped]... this creates a semitranslucent surface into ਀眀栀椀挀栀 琀栀攀 瀀椀最洀攀渀琀猀 愀爀攀 戀漀甀渀搀⸀∀ഊ ਀䄀渀漀琀栀攀爀 攀搀甀挀愀琀攀搀 最甀攀猀猀 愀猀 琀漀 眀栀愀琀 眀攀渀琀 眀爀漀渀最Ⰰ 琀栀攀渀Ⰰ 洀椀最栀琀 戀攀 琀栀愀琀 瀀愀爀琀ഊof the problem was the introduction of the cheap, filler junk and large ਀愀洀漀甀渀琀 漀昀 眀愀琀攀爀 琀栀愀琀 椀猀 甀猀攀搀 琀漀 洀愀欀攀 洀漀搀攀爀渀 ∀琀攀洀瀀攀爀愀∀ 椀渀琀漀 愀 瀀爀漀挀攀猀猀ഊthat is supposed to be performed simply with wetted, ground pigment ਀甀瀀漀渀 愀 昀愀椀爀氀礀 猀瀀攀挀椀昀椀挀 戀愀猀攀 洀愀琀攀爀椀愀氀ⴀⴀ氀椀洀攀ⴀ瀀氀愀猀琀攀爀⸀ഊ ਀䤀Ⰰ 琀漀漀Ⰰ 栀愀瘀攀 攀砀瀀攀爀椀洀攀渀琀攀搀 椀渀 昀爀攀猀挀漀 眀椀琀栀 琀攀洀瀀攀爀愀 瀀愀椀渀琀猀⸀ 䤀 眀漀爀欀 眀椀琀栀ഊmentally retarded adults, and, one day, having finished our usual tasks, ਀䤀 眀愀猀 氀漀漀欀椀渀最 愀爀漀甀渀搀 昀漀爀 猀漀洀攀琀栀椀渀最 琀漀 欀攀攀瀀 甀猀 戀甀猀礀 愀渀搀 氀攀愀爀渀椀渀最 礀攀琀 渀漀琀ഊsomething that would take major time commitment for me to teach. We had ਀琀攀洀瀀攀爀愀 瀀愀椀渀琀猀 ⠀䤀 欀渀攀眀 琀栀攀礀 眀攀爀攀 眀爀漀渀最Ⰰ 戀甀琀 琀栀椀猀 眀愀猀 愀渀 攀砀瀀攀爀椀洀攀渀琀℀⤀ 愀渀搀ഊplaster of paris (wrong again)--what we got was a runny mess (wet, thin ਀瀀愀椀渀琀 猀瀀爀攀愀搀椀渀最 琀栀爀漀甀最栀 眀攀琀Ⰰ 最漀漀瀀礀Ⰰ 瀀氀愀猀琀攀爀 漀昀 瀀愀爀椀猀⤀ 琀栀愀琀 戀爀漀欀攀 愀瀀愀爀琀ഊas soon as it dried. But we had fun, and my friends got exposed to ਀猀漀洀攀琀栀椀渀最 渀攀眀℀  伀甀爀 瀀愀椀渀琀猀 搀椀搀 搀椀昀昀甀猀攀 琀栀爀漀甀最栀 琀栀攀 瀀氀愀猀琀攀爀Ⰰ 愀渀搀 琀栀攀 栀椀最栀ഊliquid content of the paint (used straight from the jar) was certainly a ਀挀漀渀琀爀椀戀甀琀椀渀最 昀愀挀琀漀爀⸀ 䄀渀礀 眀攀琀 漀渀 眀攀琀 琀攀挀栀渀椀焀甀攀 爀甀渀猀 椀渀琀漀 琀栀愀琀 搀愀渀最攀爀㬀 琀栀攀ഊline between "just enough" and "too much" is pretty thin. ਀ഊWell, I hope this has been helpful to you, and that i am not just ਀爀攀瀀攀愀琀椀渀最 眀栀愀琀 猀漀洀攀漀渀攀 攀氀猀攀 栀愀猀 琀漀氀搀 礀漀甀Ⰰ 愀猀 䤀 栀愀瘀攀渀✀琀 昀椀渀椀猀栀攀搀 爀攀愀搀椀渀最ഊthe thread..... Good luck with your project--if you can't find a source ਀昀漀爀 搀爀礀 瀀椀最洀攀渀琀猀Ⰰ 氀攀琀 洀攀 欀渀漀眀Ⰰ 琀栀攀爀攀 愀爀攀 愀 挀漀甀瀀氀攀 漀昀 漀渀氀椀渀攀 搀攀愀氀攀爀猀Ⰰ 戀甀琀ഊI don't have the URLs to hand. ਀ഊYour Servant, Merouda Pendray, writing through the Rockwall account. ਀ⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀഊVisit our Web Site! ਀栀琀琀瀀㨀⼀⼀洀攀洀戀攀爀猀⸀琀爀椀瀀漀搀⸀挀漀洀⼀縀倀攀渀搀爀愀礀⼀爀漀挀欀眀愀氀氀⸀栀琀洀氀ഊ ਀ഊDate: Mon, 15 Dec 1997 10:36:00 EST ਀䘀爀漀洀㨀 䰀刀匀吀䌀匀 㰀䰀刀匀吀䌀匀 愀琀 愀漀氀⸀挀漀洀㸀ഊTo: sca-arts at raven.cc.ukans.edu ਀匀甀戀樀攀挀琀㨀 䘀爀攀猀挀漀 倀愀椀渀琀椀渀最 愀渀搀 䔀最最 吀攀洀瀀攀爀愀ഊ ਀䄀渀漀琀栀攀爀 最漀漀搀 戀漀漀欀 琀漀 栀攀氀瀀 眀椀琀栀 瀀愀椀渀琀椀渀最 昀爀攀猀挀漀猀 椀猀 ∀吀栀攀 䴀愀琀攀爀椀愀氀猀 愀渀搀ഊTechniques of Medieval Painting" by Daniel V. Thompson, another good Dover ਀戀漀漀欀⸀ 䤀琀 眀愀猀 爀攀挀漀洀洀攀渀搀攀搀 椀渀 琀栀攀 䈀攀 一漀琀 䄀昀爀愀椀搀Ⰰ 挀氀愀猀猀 最椀瘀攀渀 戀礀 䰀漀爀搀 圀漀氀昀最愀渀最 愀琀ഊPenssic this year, I found it very helpful. If you grind your own pigments, ਀瀀氀攀愀猀攀 琀愀欀攀 䴀攀爀漀甀搀愀 倀攀渀搀爀愀礀✀猀 猀愀昀攀琀礀 愀搀瘀椀挀攀 戀甀琀 愀氀猀漀 眀攀愀爀 爀甀戀戀攀爀 最氀漀瘀攀猀⸀ഊ ਀䤀昀 礀漀甀 搀漀渀✀琀 眀愀渀琀 琀漀 最爀椀渀搀 礀漀甀爀 漀眀渀Ⰰ 琀栀攀爀攀 椀猀 爀攀愀氀 攀最最 琀攀洀瀀攀爀愀 愀瘀愀椀氀愀戀氀攀 椀渀ഊtubes. This is not the tempera paints you mix with water that you find in the ਀猀挀栀漀漀氀 猀甀瀀瀀氀椀攀猀⸀ 吀栀椀猀 椀猀 椀渀 琀栀攀 最漀漀搀 最漀甀愀挀栀攀 愀渀搀 漀椀氀 瀀愀椀渀琀猀 猀攀挀琀椀漀渀Ⰰ 椀琀 挀漀洀攀猀ഊin a tube just like the good stuff! I noticed it at Pearl art supply in ਀䄀琀氀愀渀琀愀Ⰰ 氀愀猀琀 琀椀洀攀 䤀 眀愀猀 椀渀 琀栀攀爀攀⸀ഊIf this is of any use to anyone, I will investigate it further. I don't know ਀眀栀漀 洀愀欀攀猀 椀琀Ⰰ⠀眀愀猀渀✀琀 瀀愀礀椀渀最 愀琀琀攀渀琀椀漀渀Ⰰ 樀甀猀琀 洀愀搀攀 愀 洀攀渀琀愀氀 渀漀琀攀 琀栀愀琀 琀栀攀爀攀 椀猀ഊegg tempera in tiny tubes like gouache) what's in it (preservatives if any), ਀䤀✀氀氀 爀攀愀搀 琀栀攀 搀椀猀瀀氀愀礀 椀渀昀漀Ⰰ琀栀攀 挀漀猀琀 攀琀挀⸀Ⰰ 愀渀搀 眀椀氀氀 戀攀 最氀愀搀 琀漀 瀀椀挀欀 愀 昀攀眀 琀甀戀攀猀ഊand experiment with them and let you know how it works. ਀ഊI'm a beginning Illumination student-If someone has already checked it out, ਀氀攀琀 洀攀 欀渀漀眀 椀昀 椀琀✀猀 眀漀爀琀栀 戀漀琀栀攀爀椀渀最 眀椀琀栀⸀ഊ ਀䰀愀搀礀 䴀愀最最攀 刀攀椀挀栀攀渀戀攀爀最ⴀ䴀攀爀椀搀椀攀猀ഊ ਀ഊDate: Fri, 17 Nov 2000 04:32:50 EST ਀䘀爀漀洀㨀 㰀匀琀爀愀瀀瀀漀 愀琀 愀漀氀⸀挀漀洀㸀ഊTo: sca-arts at raven.cc.ukans.edu ਀匀甀戀樀攀挀琀㨀 刀攀㨀 䘀爀攀猀挀漀 倀愀椀渀琀攀爀 ⴀ 椀渀琀爀漀搀甀挀椀渀最 洀礀猀攀氀昀ഊ ਀∀吀栀攀 䄀爀琀椀猀琀✀猀 䠀愀渀搀戀漀漀欀 漀昀 䴀愀琀攀爀椀愀氀猀 愀渀搀 吀攀挀栀渀椀焀甀攀猀∀Ⰰ 刀愀氀瀀栀 䴀愀礀攀爀⸀ഊ ਀吀栀椀猀 椀猀 愀 瘀攀爀礀 最漀漀搀 戀漀漀欀⸀ 吀栀攀爀攀 愀爀攀 昀攀眀 漀琀栀攀爀 戀漀漀欀猀Ⰰ 戀甀琀 漀甀琀 漀昀 瀀爀椀渀琀⸀ഊBig libraries have good selection but you have to look for file records ਀戀攀昀漀爀攀 ㄀㤀㌀㔀⸀ഊ ਀㸀 眀栀攀爀攀 眀愀琀攀爀ⴀ戀愀猀攀搀 瀀椀最洀攀渀琀猀 愀爀攀 愀瀀瀀氀椀攀搀 琀漀 眀攀琀 瀀氀愀猀琀攀爀⸀ 䠀攀 搀椀搀 愀 昀椀渀攀ഊ> job, but within a week, the colors faded away. ਀ഊThis happened due to the alkaline action of the lime - should use earth ਀瀀椀最洀攀渀琀猀Ⰰ 漀挀栀爀愀猀 愀渀搀 洀椀渀攀爀愀氀 瀀漀眀搀攀爀猀⸀ 䤀昀 渀漀琀 猀甀爀攀 愀戀漀甀琀 琀栀攀 瀀椀最洀攀渀琀 琀栀愀琀ഊyou have - test it by mixing with water and lime. ਀ഊThis is a small intro to fresco painting - for more detailed material, ਀猀琀攀瀀 戀礀 猀琀攀瀀 瀀椀挀欀猀Ⰰ 昀爀攀猀挀漀 瀀椀挀琀甀爀攀猀Ⰰ 搀椀猀挀甀猀猀椀漀渀猀 愀渀搀 眀漀爀欀猀栀漀瀀 最漀 琀漀 㰀䄀 ഊHREF=3D"www.truefresco.com">http://www.truefresco.com ਀ഊAffresco ( In English usage, "fresco" ). Painting done on ਀昀爀攀猀栀氀礀 氀愀椀搀 眀攀琀 瀀氀愀猀琀攀爀 眀椀琀栀 瀀椀最洀攀渀琀猀 搀椀猀猀漀氀瘀攀搀 椀渀 氀椀洀攀 眀愀琀攀爀⸀ 䄀猀 戀漀琀栀 搀爀礀 琀栀攀礀 戀攀挀漀洀攀 挀漀洀瀀氀攀琀攀氀礀 椀渀琀攀最爀愀琀攀搀⸀ 䬀渀漀眀渀 愀猀 ∀琀爀甀攀∀ 昀爀攀猀挀漀Ⰰ 琀栀椀猀 琀攀挀栀渀椀焀甀攀 眀愀猀 洀漀猀琀 瀀漀瀀甀氀愀爀 昀爀漀洀 琀栀攀 氀愀琀攀 琀栀椀爀琀攀攀渀琀栀 琀漀 琀栀攀 洀椀搀ⴀ猀椀砀琀攀攀渀琀栀 挀攀渀琀甀爀椀攀猀⸀ ഊThe common assumption that all mural painting is fresco painting is an ਀攀爀爀漀渀攀漀甀猀 椀搀攀愀⸀ 䤀琀 椀猀 琀爀甀攀 琀栀愀琀 漀渀攀 挀愀渀 椀渀 昀愀挀琀 瀀愀椀渀琀 漀渀 昀爀攀猀栀 瀀氀愀猀琀攀爀Ⰰഊor intonaco, to make a painting in affresco or a fresco. In true fresco the ਀愀爀琀椀猀琀 洀甀猀琀 猀琀愀爀琀 愀瀀瀀氀礀椀渀最 栀椀猀 挀漀氀漀爀猀 漀渀 琀栀攀 眀攀琀 ⠀漀爀 昀爀攀猀挀漀⤀ 椀渀琀漀渀愀挀漀 愀猀ഊsoon as it has been prepared and laid on the wall. The colors can thus be ਀愀戀猀漀爀戀攀搀 戀礀 琀栀攀 眀攀琀 瀀氀愀猀琀攀爀⸀ 圀栀攀渀 椀琀 搀爀椀攀猀 愀渀搀 栀愀爀搀攀渀猀Ⰰ 琀栀攀 挀漀氀漀爀猀 戀攀挀漀洀攀 漀渀攀 眀椀琀栀 瀀氀愀猀琀攀爀⸀ഊ ਀吀攀挀栀渀椀挀愀氀氀礀 猀瀀攀愀欀椀渀最 琀栀攀 瀀氀愀猀琀攀爀 搀漀攀猀 渀漀琀 ∀搀爀礀∀ 戀甀琀 爀愀琀栀攀爀 愀 挀栀攀洀椀挀愀氀 爀攀愀挀琀椀漀渀 漀挀挀甀爀猀 椀渀 眀栀椀挀栀 挀愀氀挀椀甀洀 挀愀爀戀漀渀愀琀攀 椀猀 昀漀爀洀攀搀 愀猀 愀 爀攀猀甀氀琀 漀昀 挀愀爀戀漀渀 搀椀漀砀椀搀攀 昀爀漀洀 琀栀攀 愀椀爀 挀漀洀戀椀渀椀渀最 眀椀琀栀 琀栀攀 挀愀氀挀椀甀洀 栀礀搀爀愀琀攀 椀渀 琀栀攀 眀攀琀 瀀氀愀猀琀攀爀⸀ഊ ਀    䔀愀爀氀礀 洀漀爀渀椀渀最 栀漀甀爀猀⸀ 圀栀椀氀攀 䤀愀渀 䠀愀爀搀眀椀挀欀 椀猀 愀瀀瀀氀礀椀渀最 琀栀攀 昀椀渀愀氀 ∀猀欀椀洀∀ഊcoat - intonaco, Ilia Anossov is working on mixing right color tones for the ਀搀愀礀 愀栀攀愀搀⸀ 吀栀椀猀 洀愀爀欀猀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 瀀愀椀渀琀椀渀最 搀愀礀 ⴀ 最椀漀爀渀愀琀愀⸀ 倀愀椀渀琀椀渀最 椀猀ഊthe final and most challenging, of course, stage in creation of the fresco. ਀䈀攀昀漀爀攀 琀栀攀 愀爀琀椀猀琀 爀攀愀搀礀 琀漀 瀀愀椀渀 猀攀瘀攀爀愀氀 猀琀攀瀀猀 猀栀漀甀氀搀 戀攀 昀漀氀氀漀眀攀搀㨀 ㄀⤀⸀ 䘀甀氀氀 ഊscale detailed compositional rendering - cartoon should be developed and ਀瀀漀甀渀挀攀搀 琀爀愀挀椀渀最 洀愀搀攀⸀ ㈀⤀ 䌀漀氀漀爀 猀琀甀搀礀 猀栀漀甀氀搀 戀攀 挀爀攀愀琀攀搀Ⰰ 椀琀 眀椀氀氀 戀攀 甀猀攀搀 昀漀爀 ഊmixing right color tones and general color reference. 3) Plaster has to be ਀瀀爀攀瀀愀爀攀搀 愀 昀攀眀 搀愀礀猀 椀渀 愀搀瘀愀渀挀攀 ⠀琀栀攀 攀愀爀氀椀攀爀 琀栀攀 戀攀琀琀攀爀 ⴀ 氀椀洀攀 渀攀攀搀猀 琀椀洀攀 琀漀 ഊ"adopt itself to the sand and gain plasticity) in proportion of 8 parts extra ਀昀椀渀攀 猀愀渀搀 琀漀 㔀 瀀愀爀琀猀 猀氀愀欀攀搀 ⠀瀀椀琀琀攀搀⤀ 氀椀洀攀 漀爀 猀漀 眀椀琀栀 琀栀攀 氀攀愀猀琀 眀愀琀攀爀 ഊpossible. 4) Panel mast have three coats (scratch, brown/rough and float ਀⠀愀爀爀椀挀挀椀漀⤀Ⰰ 挀漀愀琀 渀愀洀攀猀 爀攀昀氀攀挀琀 琀栀攀 最爀愀搀攀 漀昀 猀愀渀搀 ⴀ 挀漀愀爀猀攀Ⰰ 爀漀甀最栀Ⰰ 昀椀渀攀⤀ 漀昀 ഊplaster put on previously with intervals of 5 days in between the coats or ਀∀眀攀琀 漀渀 眀攀琀∀⸀ 㔀⤀⸀ 䤀琀 栀攀氀瀀猀 琀漀 最爀椀渀搀 琀栀攀 戀愀猀攀 瀀椀最洀攀渀琀猀 眀椀琀栀 眀愀琀攀爀 椀渀琀漀 琀栀攀 ഊpaste in advance storing them in sealed glass jars, this way in the morning ਀⠀戀攀昀漀爀攀 琀栀攀 瀀愀椀渀琀椀渀最 戀攀最椀渀猀⤀ 眀椀氀氀 戀攀 洀漀爀攀 琀椀洀攀 琀漀 瀀爀攀瀀愀爀攀 琀漀渀攀 洀椀砀攀猀⸀ 吀爀礀 ഊabout 25 different tones. Use freshly ground dry lime mixed with water as ਀眀栀椀琀攀 ⠀瀀椀最洀攀渀琀猀 洀椀砀攀搀 眀椀琀栀 氀椀洀攀 愀渀搀 氀椀洀攀 洀椀砀攀搀 昀漀爀 眀栀椀琀攀猀 挀愀渀 渀漀琀 戀攀 猀愀瘀攀搀⤀ ഊall mixes should be done ONLY with distilled water. 6) I use soft long ਀戀爀椀猀琀氀攀 戀爀甀猀栀攀猀 漀昀 瘀愀爀椀漀甀猀 猀椀稀攀猀 爀漀甀渀搀 愀渀搀 昀氀愀琀⸀ 㜀⤀ 䄀昀琀攀爀 琀栀攀 昀椀渀愀氀ഊintonaco is applied it should be left for about 20min to settle. ਀  ഊ ਀ⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀ㴀ഊ ਀䰀愀琀攀 䴀漀爀渀椀渀最 ⴀ 䤀氀椀愀 䄀渀漀猀猀漀瘀 椀猀 眀漀爀欀椀渀最 漀渀 洀漀渀漀挀栀爀漀洀攀 甀渀搀攀爀 瀀愀椀渀琀椀渀最⸀ 䄀昀琀攀爀 ഊpreparation is done and freshly laid intonaco had settled it is time to ਀琀爀愀渀猀昀攀爀 琀栀攀 挀愀爀琀漀漀渀⸀ 吀爀愀挀椀渀最 昀爀漀洀 琀栀攀 挀愀爀琀漀漀渀 瀀漀甀渀挀攀搀 愀氀漀渀最 琀栀攀 氀椀渀攀猀 眀椀琀栀 ഊneedle or pouncing wheel is laid over the plaster and dusted over with ਀挀栀愀爀挀漀愀氀 漀爀 猀椀洀瀀氀礀 椀渀挀椀猀攀搀 ⠀瀀爀攀猀猀攀搀 愀氀漀渀最 琀栀攀 氀椀渀攀猀⤀ 戀礀 琀栀攀 漀瀀瀀漀猀椀琀攀 攀渀搀 漀昀 愀 ഊthin brush to provide the base guideline for the painting process. The ਀甀渀搀攀爀ⴀ瀀愀椀渀琀椀渀最 椀猀 搀漀渀攀 眀椀琀栀 琀攀爀爀愀 瘀攀爀搀攀 ⠀最爀攀攀渀 攀愀爀琀栀 瀀椀最洀攀渀琀⤀ 眀椀琀栀 猀栀愀搀漀眀猀 ഊenhanced in umber (picture on the right) or with other colors, but remember ਀椀渀 昀爀攀猀挀漀 椀琀 椀猀 渀漀琀 瀀漀猀猀椀戀氀攀 琀漀 挀漀洀瀀氀攀琀攀氀礀 瀀愀椀渀琀 漀甀琀 愀 ∀眀爀漀渀最∀ 挀漀氀漀爀 ഊtherefore every tone should be carefully planned. Another thing to remember ਀椀猀 琀栀愀琀 瀀氀愀猀琀攀爀 戀攀栀愀瘀攀猀 搀椀昀昀攀爀攀渀琀氀礀 搀甀爀椀渀最 琀栀攀 搀愀礀 ⴀ 椀琀 眀椀氀氀 渀攀攀搀 洀漀爀攀 眀愀琀攀爀ഊin the tones at the beginning and the end of the day then in the middle and ਀搀漀 渀漀琀 欀攀攀瀀 琀漀 洀甀挀栀 瀀愀椀渀琀 漀渀 琀栀攀 戀爀甀猀栀 ⴀ 椀琀 眀椀氀氀 爀攀猀甀氀琀 椀渀 ∀戀氀漀戀猀∀ 猀焀甀攀攀稀攀ഊit slightly between the fingers before touching the plaster. ਀ഊ----------------------------------------------------------------------------= ਀ഊ Midday - under-painting is done and Ilia Anossov is beginning to apply ਀挀漀氀漀爀⸀ 䴀愀樀漀爀 挀漀氀漀爀 瘀愀氀甀攀猀 猀栀漀甀氀搀 戀攀 瀀愀椀渀琀攀搀 漀甀琀 昀椀爀猀琀 椀渀 琀栀攀 猀愀洀攀 洀愀渀渀攀爀 愀猀 ഊunder-painting - work the entire giornata gradually and keep it balanced, ਀愀氀猀漀 瀀氀愀猀琀攀爀 眀椀氀氀 渀漀琀 琀愀欀攀 琀漀 洀甀挀栀 瀀愀椀渀琀 愀琀 漀渀挀攀Ⰰ 氀攀琀 椀琀 ∀爀攀猀琀∀ 戀攀琀眀攀攀渀 琀栀攀 ഊpasses of a brush by working on different area. It should be about 25 tone ਀瘀愀爀椀愀琀椀漀渀猀 眀椀琀栀 氀椀最栀琀 愀渀搀 搀愀爀欀 眀椀琀栀 琀眀漀 洀椀搀 琀漀渀攀猀 椀渀ⴀ戀攀琀眀攀攀渀 漀昀 攀愀挀栀 挀漀氀漀爀⸀ ഊThe best working pigments in fresco are the earth oxides and other mineral ਀瀀椀最洀攀渀琀猀⸀ 匀漀洀攀 瀀椀最洀攀渀琀猀 眀椀氀氀 渀漀琀 眀漀爀欀 眀椀琀栀 氀椀洀攀 瀀氀愀猀琀攀爀 愀琀 愀氀氀 ⴀ 猀漀洀攀 洀愀渀 ഊmade greens change to yellow as being mixed, so as many other modern day ਀瀀椀最洀攀渀琀猀 攀砀挀攀瀀琀 琀栀攀 漀渀攀猀 琀栀愀琀 猀瀀攀挀椀愀氀氀礀 昀漀爀洀甀氀愀琀攀搀 昀漀爀 琀栀攀 甀猀攀 眀椀琀栀 瀀氀愀猀琀攀爀猀⸀ ഊTest the colors in advance by mixing little portions of them with lime, also ਀洀漀猀琀 漀昀 愀爀琀 猀甀瀀瀀氀礀 猀琀漀爀攀猀 猀栀漀甀氀搀 栀愀瘀攀 爀攀昀攀爀攀渀挀攀 洀愀琀攀爀椀愀氀 漀渀 琀爀愀搀椀琀椀漀渀愀氀 ഊfresco palette. ਀ഊ----------------------------------------------------------------------------= ਀ഊThe End of the day. Ilia Anossov is finishing the fresco. He is putting the ਀氀愀猀琀 琀漀甀挀栀攀猀 戀礀 瀀椀挀欀椀渀最 甀瀀 琀栀攀 搀攀琀愀椀氀猀 愀渀搀 愀挀挀攀渀琀猀⸀ 吀栀攀 攀渀搀 漀昀 琀栀攀 搀愀礀 昀漀爀 ഊthe fresco painter is the most pleasant stage the plaster enters what is ਀猀漀洀攀琀椀洀攀猀 挀愀氀氀攀搀 ∀琀栀攀 最漀氀搀攀渀 栀漀甀爀∀ ⴀ 瀀愀椀渀琀椀渀最 椀猀 ㌀⼀㐀 搀漀渀攀 愀渀搀 瀀氀愀猀琀攀爀 椀猀 椀渀 ഊit's best stage. Time to finish the detail pickup and blend color tones by ਀瀀愀猀猀椀渀最 漀瘀攀爀 愀渀搀 漀瘀攀爀 眀椀琀栀 氀愀椀爀猀 漀昀 琀爀愀渀猀瀀愀爀攀渀琀 挀漀氀漀爀 愀琀 ⠀琀栀椀猀 猀琀愀最攀 琀栀攀 ഊcolor mixes should be "wet" again). Painter must work fast and precise at ਀琀栀椀猀 猀琀愀最攀 戀攀挀愀甀猀攀 ∀最漀氀搀攀渀 栀漀甀爀∀ 愀氀猀漀 洀攀愀渀猀 琀栀愀琀 瀀氀愀猀琀攀爀 眀椀氀氀 猀漀漀渀 ∀氀漀挀欀ഊup" - stop receiving paint (the paint will change to much lighter opaque tone ਀愀猀 猀漀漀渀 愀 椀琀 琀漀甀挀栀攀猀 琀栀攀 瀀氀愀猀琀攀爀 ⴀ 琀栀愀琀 椀猀 椀琀 瀀甀琀 琀栀攀 戀爀甀猀栀 搀漀眀渀℀⤀⸀ 伀渀攀 琀栀椀渀最ഊto remember is that in the next seven or so days following the painting the fresco will be undergoing the curing stage and this is a confidence test for ਀琀栀攀 䄀爀琀椀猀琀⸀ 䌀漀氀漀爀猀 搀爀礀 愀琀 搀椀昀昀攀爀攀渀琀 猀瀀攀攀搀 愀渀搀 瀀氀愀猀琀攀爀 椀猀 渀愀琀甀爀愀氀氀礀ഊcompacted unevenly although it looks flat and perfect changes to white faster in more compacted areas. These are to of many other factors that make color in fresco change into discouraging cacophony for the first few days after the painting is finished. But do not worry in about 7-10 days it will look even more beautiful and just a little lighter then the day it was painted. ਀ഊfor this text with step by step pictures go to ਀栀琀琀瀀㨀⼀⼀眀眀眀⸀琀爀甀攀昀爀攀猀挀漀⸀挀漀洀⼀琀攀挀栀渀椀焀甀攀⸀栀琀洀氀ഊ ਀䘀爀攀猀挀漀 倀愀椀渀琀攀爀ഊhttp://www.truefresco.com ਀ഊ ਀䔀搀椀琀攀搀 戀礀 䴀愀爀欀 匀⸀ 䠀愀爀爀椀猀ऀ昀爀攀猀挀漀攀猀ⴀ洀猀最ऀ倀愀最攀 㘀 漀昀 㘀ഊ ਊ