Hands-on Three-Day Fresco Workshop

Location: The Center for Byzantine Material Arts
The Monroe Arts Walk, 716 Monroe St NE STE 7, Washington DC 20017

Date: April 22-24, 2016 FILLED

Instructor: George O'Hanlon

Image: The instructor will provide a color image of a saint from a Byzantine fresco, however, students have the option to choose one of the images at the bottom of this page as an alternative.

Please call 1-888-361-5900 Monday–Friday, 9:00 a.m.–5:00 p.m. PST, to register and pay the full tuition.

Or register online here: True Fresco Painting Workshop


Workshop Program

This is a three-day intensive workshop on buon fresco painting with an emphasis on the historical technique as practiced in medieval Byzantium and Italy. This workshop is an introduction to the technique of fresco painting with instruction on fresco secco painting.

Hands-on, Practical Instruction

This three-day workshop will give you the skills needed to complete fresco painting for walls and portable panels. The course begins with hands-on instruction on applying plaster. Using a prototype you draw and paint the cartoon, transfer it to the plaster and begin painting the image. At the end of this workshop you will complete a portable fresco to take home with you.

Plastering boards

Plastering boards

Preparing the cartoon

Painitng the fresco

Day 1: Preparation

We spend some time in the morning organizing our work places and learning about fresco painting technique. You are introduced to fresco materials and tools, their application and sources. Next, you will learn about the fresco "cartoon," which is a full-color preparatory drawing. We provide several different images for you to chose from to use as your prototype for your fresco painting at the workshop. In the afternoon, you draw the cartoon by transferring the image from a reproduction onto tracing paper, adjust and refine the cartoon and then transfer the drawing onto a piece of paper. We learn about traditional fresco pigments by grinding, preparing and testing fresco paints. You will then paint the cartoon in color, as if it was the final fresco image.

A metal mesh (we typically use diamond metal lath) is a great innovation for fresco painting, because it can hold the plaster onto any surface, including wood. Fresco plaster is comprised of two basic ingredients: lime putty and sand. Above, students apply plaster to a wood frame in preparation for painting.

A full-color cartoon of the picture is prepared before painting can begin. This cartoon is transferred to the panel by tracing it onto the wet plaster. At left, a student is applying a background color on the wet plaster. Shown at right is the cartoon (above) used as the model to paint the fresco panel (below).

Day 2: Plastering and Painting on the Wet Plaster

We prepare the portable fresco panel for painting by preparing the plaster composed of two basic ingredients—lime putty and sand—and then apply the layer of plaster in the portable fresco panel. While this plaster is becoming ready for painting, we transfer the cartoons onto the fresh plaster and prepare our pigments. We then being painting on to the wet plaster.

First, the local colors are applied to the large areas of the image, such as the background, allowing the pigment to adhere to the fresh lime. Afterwards, the figure is drawn and all the shadows elaborated with green earth and red ocher. These parts must be done first. The highlights are done later, because lime is used as white, which helps with the process of adhering the pigments to the plaster. When the work is finished, the colors appear very saturated, but after some days some colors, like lapis lazuli, yellow ocher, green earth and others, when mixed with lime, tend to appear lighter, whereas red ocher and vine black tend to become darker. It is very important to remember this feature of fresco painting and pay very close attention to this when you work with colors.

Day 3: Secco Painting on Plaster

In the morning, we check our paintings and prepare materials for secco painting. We then begin the secco painting to highlights and some colors that require this technique. We finish our painting in the early afternoon.

Who Should Attend?

If you want to learn the technique of buon and secco fresco painting, you should attend this workshop. This workshop is designed for those with little or no experience in fresco painting, or for more advanced students who want a refresher course.

What Art Supplies Are Needed?

We have provided a complete list of materials that you will need at the workshop. In the list, we've indicated what materials will be available for you at the workshop and what supplies you can either purchase in advance from Natural Pigments or bring with you to the workshop. You can find the complete list below.

Tuition

The tuition of $450 also includes the fresco plaster, portable fresco panel and other supplies required for the workshop. However, you will need pigments, brushes and tools that you can bring to the workshop or purchase from Natural Pigments. To see what supplies are needed at the workshop, please see the complete list below.

How to Register

Register now for the True Fresco Painting Workshop

Instructor

George O'Hanlon is a painter and founder of Natural Pigments that supplies artists worldwide with traditional painting supplies. He teaches courses on different painting techniques, such as egg tempera and fresco, and about traditional and historical artists materials, such as pigments, preparing panels for painting with traditional gesso, gilding, etc. He is also founder of the non-profit organization, Iconofile, that provides education for individuals and groups on sacred art painting techniques, especially that of icon paintings.


Art Materials and Tools for the Workshop

In the following table are the materials and tools required for the workshop. In the far right column with the header "Supplied," each item is marked as to whether we supply the item for each student ("Yes" in Supplied column) or you must bring one or obtain one for the workshop ("No" in Supplied column). We also indicated which of those items are available in the Basic or Complete Student Kits ("Yes" in Basic or Complete column) that you can purchase in advance from Natural Pigments. If you order one of the kits with your registration or at least 30 days in advance of the workshop date, we will ship it directly to the workshop at no cost to you. As a registered student of the workshop, you will also receive a valuable discount on the cost of the kits. Once you register and pay the workshop tuition, you will receive a code by email that you can use to receive this discount when purchasing either student kit.

Purchase the Fresco Basic Student Kit

Purchase the Fresco Complete Student Kit

We remind students that all tools made available by Natural Pigments during the workshop are loaned to students and must be returned to Natural Pigments. You may also want to mark tools that you bring to the workshop with your name so that they are not misplaced.

Required Materials and Tools
Item Description Supplied Basic Kit Complete Kit
Portable Fresco Panel Portable Fresco Panel
Wood panel and frame to support the fresco plaster. Made from hand-selected, Baltic Birch plywood, ruggedly made to hold your portable fresco with galvanized diamond metal lath.
Yes No No
Lime Putty Lime Putty
Lime Putty for intonaco and other plaster coats. The lime putty we use comes from our own lime pit, aged at least two years and has been extensively tested for use in fresco. With lime of this purity it is possible to create brilliant fresco painting that will have excellent permanence.
Yes No No
  Sand
Use sharp, fine sand that is well washed and graded to create a 30% void ratio by volume. Washed and graded 30 mesh sand usually works well. The void is filled by lime putty to create the proper binder-to-aggregate ratio and represents the 1:3 ratio of binder-to-sand often found in historic fresco plaster.
Yes No No
Fresco Pigment Dispersion Set Pigments
The following palette of eight pigments will be used at the workshop. However, you may want to bring other pigments (dry powder or pigment dispersion) to supplement these for your own use at the workshop. You can purchase any of the pigments listed in the Fresco section of the Natural Pigments online store for this workshop.
Ultramarine Blue
Verona Green Earth
Italian Yellow Earth
Venetian Red
Italian Burnt Sienna
Italian Raw Umber
German Vine Black
Titanium Dioxide
No Yes Yes
  Milk of Lime
Milk of Lime is for tempering pigments and mixing with colors in the first coat of paint.
Yes No No
Painting Tools Painting on the moist plaster requires long and soft hair brushes. At the beginning, the plaster surface is sensitive, so broad soft-haired brushes are best for painting the first colors. When the first coat of color begins to set, long bristle brushes can be used. Sable hair brushes are the best brushes for fresco painting, but the rough surface wear the hairs quickly. We recommend less expensive soft-hair brushes for fresco painting. Goat hair brushes are well suited for leaving streaky uneven brush strokes that are interesting as accents.
Round Brushes Round Brushes
Soft-hair round brushes: Sizes #2, #4 and #8
Bristle hair round brushes: Sizes #2, #4 and #8
The exact sizes are not too important, however brushes approximately of this size range should be available.
No No No
Flat Brushes Flat Brushes
Soft-hair flat brushes: Size #22 or 20 mm (3/4 inch) wide
Bristle hair flat brush:
Size #22 or 20 mm (3/4 inch) wide
The exact size is not too important but brushes approximately of this size should be available.
No No No
Palette Palette
Any palette with 8 to 10 wells, such as the 10-well round plastic palette, 7.5 in. (19 cm) diameter, pictured at left.
No Yes Yes
Drawing Tools Tools and supplies necessary to transfer your drawing to the plaster surface. Other supplies that you will need are: Pencil, HB; Eraser; Drafting tape, 2 cm (0.75 in.) wide; Tacks; Latex gloves and Hand lotion. We will have these items available for you to use at the workshop.
  Tracing Paper
Ordinary white bond is suited for drawing and painting the cartoon and transferring it to the fresco plaster.
Yes No No
Transfer Paper Transfer Paper
To transfer designs onto most surfaces. Transfer paper leaves no wax residue to interfere with the acceptance of paint. The transfer marks erase like pencil with no smear. Paint over the tracing won't skip or bead and can be re-used over and over again.
Yes No No
Stylus Stylus
To transfer drawings to a panel with a stylus that will not tear the paper. Rounded points prevent tears, one point for fine work and the other for thicker lines.
No Yes Yes
Paint Making Tools Paint Making Tools are used to mix the dry pigments with water, preparing the colors for application to the wet plaster. Although we use ready-dispersed pigments in the workshop, we will demonstrate how to prepare powder pigments for use in fresco.
Mortar and Pestle Mortar and Pestle
Porcelain mortar and pestle for grinding pigments. The hard inside surface is unglazed allowing you to easily abrade materials to the degree of fineness needed for painting. The mortar and pestle is handy when needed to reduce the particle size of pigments for smoother paint and to use Bianco San Giovanni white pigment.
No No Yes
Squeeze Bottle Squeeze Bottle
Squeeze bottle with spout cap for dispensing water used to mix with powder pigments.
No Yes Yes
Muller Muller
Glass muller for grinding powder pigments. The bottom of the glass muller is flat and sandblasted to provide an excellent grinding surface.
Yes No No
Grinding Plate Grinding Plate
Glass plate with sanded edges for use with the muller to disperse pigments into water.
Yes No No
Spatula Spatula
The spatula is used to mix dry pigment powder with water on a glass slab. Use it with a muller and slab to mix pigment with water and scraping accumulated paint from the sides of the muller or to collect paint into the center of the slab.
Yes No No
Plaster Tools Trowels are used to apply plaster and finish the surface before painting. All our tools were selected for their suitability for fresco. They are the finest made to give years of service. The handle rise should be set for the correct "hang" and balance. The blade should be taper-ground and polished to give it the right amount of flexibility.
Mixing Board Mixing Board
The mixing board and mortar pan are used to mix the lime putty and sand. If made of high density polyethylene, it is durable, lightweight and easy to clean after mixing plaster. Dry plaster will not stick to its surface, so clean up is easy.
Yes No  No
Mortar Hoe Mortar Hoe
The mortar hoe is used to mix the plaster and sand together. The holes in the blade allow for more effective mixing on a mixing board or in a mortar pan. The hoe from Natural Pigments head is one-piece forged from carbon steel, riveted to a steel ferrule. This hoe has a heavy-duty 45.7 cm (18-in.) hardwood handle with a sturdy "D" grip.
Yes No No
Gauging Trowel Gauging Trowel
Gauging Trowel is a versatile tool for transferring plaster (rounded point is ideal for picking plaster out of a pail) and applying plaster. Use to mix or "gauge" small amounts of plaster. The rounded shape of the blade's heel allows plaster to be carried further forward on the blade. Size: 17,78 x 8,57 cm (7 x 3-3/8 in.)
No No Yes
Wood Float Wood Float
Wood Float is used to prepare the surface for troweling or, if a rough finish is desired, floating is the final operation. Ours are made from 1,27 cm (1/2 in.) thick seasoned mahogany with a very smooth finish. The plastic handle is both comfortable and durable. This is the most popular float for fresco: 30,48 x 8,89 cm (12 x 3-1/2 in.).
No No Yes
Finishing Trowel Finishing Trowel
Finishing Trowel is used to put a smooth finish on plaster. It compacts the surface adding to its quality and durability. Ours have a high-carbon steel blade is cross-ground (usually only found on better finishing trowels) to hold its shape better. The handle is curved for better handling and machine fitted onto the milled shank. Finishing trowels are narrower and longer than plastering trowels and the blade is slightly convex. Ideal size for fresco most work: 20,3 x 7,6 cm (8 x 3 in.).
No No Yes
Utility Brush Utility Brush
The short handle brush is for cleaning surfaces and tools. White tampico bristles are set in a high-tensile strength foam plastic block. The scrub brush will not absorb water and is made for long service.
Yes No No

 

Optional Materials and Tools
Item Description
Bullnose Pointing Trowel Bullnose Pointing Trowel
Bullnose Pointing Trowel is for polishing the final plaster coat prior to transferring the cartoon and the completed fresco. Also useful to apply plaster in tight or curved areas. Pointing trowels are handy for patchwork and cleaning other tools. Size: 13,97 x 4,76 cm (5-1/2 x 1-7/8 in.)
  Portable Desk Lamp
Although the workshop location is generally well lighted, a portable desk lamp may be a good idea to bring.
  Extension Cord
If you bring a portable desk lamp, you will need to bring a grounded electrical cord between 12 and 18 feet long.

Selecting a Picture to Paint

You are welcome to choose any image that you like as your reference to paint for the class. However, we recommend that you use an image of a fresco painting, similar to the ones that appear on the fresco workshop page or below. Attempting to paint an image in fresco that was originally painted in another medium, such as oil paint, will prove to be difficult and frustrating. You can use one of the images below as the picture you paint at the workshop. Choose a picture that you feel comfortable painting. Some are more difficult than others. To download an image already sized for the workshop, click on the picture. This opens a new window with a larger view of the image. Right click on this picture with your mouse, which opens a menu (in both Windows and Macintosh), and choose "Save Picture as..." or "Save Image as...".

Please do not use images that are complex and contain many elements. This will make learning difficult and you will be frustrated attempting to paint such an image for the first time in fresco. If you have any question about the suitability of an image you want to use at the workshop, send it to the instructor by email for evaluation.

The portable fresco panels that we use in the workshop measure 12 by 15 inches. We would like to use larger panels for workshop, but carrying a large and heavy fresco panel home with you (especially if you are arriving to the workshop city by airline) is not convenient. Select an image that will fit the aspect ratio of the fresco panel either vertically or horizontally (portrait or landscape format).

IMPORTANT: Please size your image to fit within the 12 by 15 inch area, allowing about 0.25 inch in each direction for variances in the overall size. If you scale your image you will save time at the workshop by not having to spend it scaling the image to fit the panel.

Glass vase filled with fruit (detail) of fresco in a room of Poppaea's Villa at Oplontis
Glass vase filled with fruit (detail) of fresco in a room of Poppaea's Villa at Oplontis, Italy
Level of Difficulty: Low
Garden from fresco of the triclinium of the House of the Golden Bracelet, Pompeii, Italy
Garden (detail) from a fresco of the triclinium of the House of the Golden Bracelet, Pompeii, Italy
Level of Difficulty: Moderate
Fountain and bird from fresco of the triclinium of the House of the Golden Bracelet, Pompeii, Italy
Fountain and bird (detail) from a fresco of the triclinium of the House of the Golden Bracelet, Pompeii, Italy
Level of Difficulty: Moderate
Female behind figure of the Bacchante in Scene VII from the Villa of the Mysteries, Porta Ercolan, Italy
Female (detail) behind the figure of the Bacchante in Scene VII, Villa of the Mysteries, Porta Ercolano, Italy
Level of Difficulty: Moderate to High
Giotto, angel (detail) from Scrovegni Arena Chapel
Angel (detail), Giotto di Bondone, c. 1305-06, fresco, Scrovegni (Arena) Chapel, Padova, Italy
Level of Difficulty: Moderate
Andrea del Castagno, Queen Esther
Queen Esther (detail), Andrea di Bartolo di Bargilla (known as Andrea del Castagno), c. 1450, fresco, Galleria degli Uffizi, Firenze, Italy
Level of Difficulty: High