FRESCO PAINTING Modern Methods and Techniques for Painting in
Fresco and Secco by OLLE NORDMARK AMERICAN ARTISTS GROUP, INC. NEW
YORK PREFACE This book has been written for the painter in fresco,
who wishes to acquire enough knowledge of the craft to enable him
to supervise, guide and efficiently work with the craftsmen
plasterers who are put in charge of the preparation of his
materials and wall and who will assist him as the finishing
plasterers throughout the period of painting. It should be
remembered that the surface of the so-called Intonaco, must yield
the best possible working conditions, giving the painter the
longest possible time to execute the part of the wall intended for
a days work. In order that such a condition should prevail, a
thorough knowledge of the materials used in the practice of fresco
painting must be acquired through the practical utilization of a
series of operations to obtain necessary ultimate results. Stress
is, therefore, laid upon the fact that the painter him self must
guide and guard the preparation of his materials and the different
layers of mortar which build up the fresco ground, the foundation
for the painting. Also, if he is not prepared himself to do the
work, he must be able to give final full direc tions for the
Intonaco or painting surface, the richness of the mixing and its
perfect application which in itself requires experienced handling
of tools in the piece-meal plastering of the wall, all of which is
the groundwork for the actual painting. This HANDBOOK, therefore,
will endeavor to explain the practice of fresco and fresco-secco
painting in connection and collaboration with the trade from which
it was derived the building trade. OLLENORDMAKK CONTENTS i WALLS 3
ii PREPARATION OF MORTAR MATERIALS 9 in MORTAR MIXING 17 iv
PLASTERING THE FRESCO GROUND 22 v FRESCO GROUNDS 32 vi INTONACO 38
vii PRELIMINARY WORK TO PAINTING THE FRESCO . . 43 viii PAINTING
THE FRESCO ... 67 ix SECCO PAINTING IN LIMECOLOR 87 x MODELING OF
RELIEF IN MORTAR 95 xi RETOUCHING 101 xii PRELIMINARY WORK FOR
PLASTERING ..... 108 xiii THE SCAFFOLD 112 SOURCE OF SUPPLIES 115
INDEX - 121 COLOR PLATES FIRST STEPS IN FRESCO PAINTING 80 by OlXE
NORDMARK COMPLETED FRESCO PAINTING 81 by OLLE NORDMARK FRESCOS IN
POST OFFICE DEPARTMENT, WASHINGTON, D. C 82 by REGINALD MARSH
FRESCOS IN POST OFFICE DEPARTMENT, WASHINGTON, D. C 83 by REGINALD
MARSH FRESCOS IN DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D. C
84 by HENRY VARNUM POOR FRESCOS IN DEPARTMENT OF JUSTICE BUILDING,
WASHINGTON, D. C 85 by HENRY VARNUM POOR DETAIL FROM FRESCO IN THE
DEPARTMENT OF JUSTICE BUILDING, WASHINGTON, D, C 86 by GEORGE
BIDDLE FRESCO PAINTING WALLS CHAPTER ONE T JL. . H H E QUESTION of
a suitable wall for the fresco-mural, or how to make any available
area a permanent foundation for the plaster coats making up the
fresco ground, has vexed the fresco painter from ancient times to
our days. BRICK WALLS Generally it can be said that the
old-fashioned brick wall made from handmade bricks is still the
ideal wall for the fresco mural. Bricks baked to a fresh looking
red and laid in lime-sand mortar constitute that kind of a wall.
Old plastered walls must first have the plaster removed. Old as
well as new walls are cleaned with a weak solution of HYDROCHLORIC
ACID, washed with hot water and then sprayed and rinsed with cold.
During the spraying the wall is examined for non-absorbentbricks of
a muddy violet or clincer grey color. All such bricks baked and
burnt beyond the temperature of the fresh red color must either be
insulated by waterproofing or, better still, replaced with good
bricks to remove the ever present possibility of EFFLORESCENCE.
Waterproofing is done by painting over with an ASPHALT type of
WATERPROOFING which will still allow the mortar to cling to the
safeguarded brick. Deep hollows and faulty bricks are filled out
and repaired with lime-sand mortar, 1-2 mixture with brick chips
mixed in
General
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