Question

can you tell me how to make a fresco

Answer 1

Affresco ( In English usage, “fresco” ). Painting done on freshly laid wet plaster with pigments dissolved in lime water. As both dry they become completely integrated. Known as “true” fresco, this technique was most popular from the late thirteenth to the mid-sixteenth centuries. The common assumption that all mural painting is fresco painting is an erroneous idea. It is true that one can in fact paint on fresh plaster, or intonaco, to make a painting in affresco or a fresco. In true fresco the artist must start applying his colors on the wet (or fresco) intonaco as soon as it has been prepared and laid on the wall. The colors can thus be absorbed by the wet plaster. When it dries and hardens, the colors become one with plaster. Technically speaking the plaster does not “dry” but rather a chemical reaction occurs in which calcium carbonate is formed as a result of carbon dioxide from the air combining with the calcium hydrate in the wet plaster.

Answer 2

Answer:

to make a fresco

Explanation:

While the art of fresco painting reached its peak during the Italian Renaissance, examples of painting on wet plaster date back to 1500 B.C., and fresco paintings in caves were done more than 15,000 years ago.

To achieve a buon or "true" fresco, artists use pure pigments and water to paint on wet plaster. Through this technique, the painting becomes part of the plaster wall or ceiling. An artist needs to work quickly and carefully while painting a true fresco because it cannot be changed once it dries. Several layers of plaster are applied to the wall or ceiling before the final painting layer is done. To make a fresco secco, an artist applies pigments to dry plaster. Egg, oil, or glue binds the pigments to the dry plaster. A fresco secco allows the artist to take his time and easily fix errors, but it is less durable than a buon fresco. In both techniques, the pigments are applied in layers.

Frescoes were used for many large-scale works during the Renaissance, such as the ceiling of the Sistine Chapel. Since plaster dries quickly, it was important for artists to work on a buon fresco in small sections. To make it easier, artists planned drawings of their work, called cartoons. After poking holes along the outline of a cartoon, an artist would hold it up to the wet plaster and apply a colored dust, such as charcoal, through the holes. This transferred the outline of the drawing on to the wet plaster. Alternately, he could use a metal point to lightly indent the outline of the cartoon into the wet plaster. Frescoes do not require walls or ceilings; they can also be done on panels and tiles.

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