Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. Generally, a layer of plaster will require ten to twelve hours to dry ideally, an artist would begin to paint after one hour and continue until two hours before the drying time-giving seven to nine hours' working time. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a faint seam that separates one from the next.īuon frescoes are difficult to create because of the deadline associated with the drying plaster. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot ( spolvero) banged on them to produce black dots along the lines.
Later, new techniques for transferring paper drawings to the wall were developed. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Ī Roman fresco of a young man from the Villa di Arianna, Stabiae, 1st century AD.
Even in apparently Buon fresco technology, the use of supplementary organic materials was widespread, if underrecognized. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster. The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. The word fresco ( Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The Creation of Adam, a detail of the fresco Sistine Chapel ceiling by Michelangeloįresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster.
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