Fresco painting, represents the glory of Italian art and is considered to be the most demanding technique amongst art techniques: since the materials used are very humble (sand, lime and  earth colours). 

The term “a fresco” or “buon fresco” refers to the act of painting a mural in which the colours are diluted in water and applied over fresh plaster. On doing so, a chemical reaction between the lime of the plaster ‘intonaco’ and carbon present in air occur, so that the colours are fixed permanently. They become insoluble and acquire a strong solidity which will resist in time.

How did the fresco come to St Theresa girls’ lyceum? In September 2008 ART Club 2000 Mellieha in conjunction with the Council of Treglio in Abruzzo organised a Fresco appreciation and painting trip to Italy, where I together with a group of eight from Malta  had the opportunity to learn the technique from Italian Master Vico Calabro’. Maestro Calabro’ has worked fresco worldwide, in countries like Italy, Croatia, Japan and Brazil. He has dedicated the past thirty years of his life, travelling round the globe studying, painting, teaching and promoting this precious technique. The art of fresco takes time to compose and the process is a long one. To paint ‘ad affresco’ meaning while fresh may present a hard task. This technique tests the ability of the executer, who has to have patience, ability to make quick decisions and compose on a large scale.  This technique  unfortunately has been aside for some years and almost forgotten.

This was the reason I decided  to take up the fresco revival cause and start of having an ongoing ‘buon fresco’ laboratory at St Theresa Girls’ Lyceum. Here the students would learn the art of fresco step by step through hands on experience.

The Fresco Process

 The Bozzetto is a small preliminary sketch outlining the subject to be painted while the Cartone is a full scale drawing of the future fresco. Cartoons are drawn on regular paper with pencil, graphite, charcoal, sepia chalk, etc. The purpose of a cartoon is a thorough study and final rendition of the composition, light, shadow details of the future fresco. It is a preparatory drawing taken to the next level. Cartoon is essential when panting in Fresco not only as the main guideline for transferring the design onto freshly laid (fresco) plaster, but also as the main tool and method of understanding and orchestrating the steps for painting of the corresponding fresco.

Bozzetto

Cartone

 THE WALL AND THE RINZAFFO

The choice and preparation of the wall on which to locate the fresco is crucial for obtaining lasting results. The ideal wall is made of stone and should be free from mould and any other external elements; such as cement, paint, nails etc. The Rinzaffo is a mixture of course sand and lime used to level out the wall.

THE ARRICCIO

 The Arriccio is a layer of plaster approximately one centimetre thick applied over the Rinzaffo. It has a course finish thus allowing for the application of subsequent finer layers of plaster.

THE SINOPIA

 The Sinopia is an under drawing for fresco made with reddish, greenish or brownish earth colour with water brushed on the Arriccio layer, over which the Intonaco is applied before painting

Sinopia

THE INTONACO

 The Intonaco is a fine mixture of sand and lime and it is the final layer of plaster applied to the wall. This is the layer on which pigment is applied.

THE SPOLVERO

 The Spolvero is the process of transferring the outline of the drawing from the Cartone onto the freshly laid Intonaco defining the areas over which to paint. This can be achieved by producing holes along the contours of the figures on the Cartone, over which a very fine colour dust is applied. The colour will penetrate through the holes leaving tiny dots on the wall defining the figures.

Another method of transferring the design from the Cartone onto the Intonaco is by passing over the outline using a stylus. This will leave a dent on the plaster.

THE PITTURA

 Painting using pigment while the Intonaco is still fresh "a fresco" this is where the technique takes its name. Pigment will penetrate the fresh plaster thus creating a permanent bond which will resist in time.

THE GIORNATA

 The Giornata is the irregular area on which Intonaco is applied and the artist has to paint over at one go until the plaster dries out. The different giornate have to be carefully planned following the outline of figures so that joints do not disturb the end result. Unpainted plaster should be removed at the end of the day.

2st giornata

2nd giornata

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