Fresco Techniques
Reading Time: 1:40 min
Wet Fresco (Buon Fresco)
Medieval Italian Term: buon fresco (“true fresco”)
Simple Steps:
1 | The wall was covered with a rough lime plaster (arriccio).
2 | A smoother final plaster layer (intonaco) was applied while still wet.
3 | The painter applied pigments mixed with water directly onto the wet plaster.
4 | As the plaster dried, the pigments became chemically bound into the wall.
Key Points:
– Very durable and long-lasting
– Colours are slightly soft and matt
– Work had to be done quickly, often in daily sections (giornate)
Dry Fresco (Fresco Secco)
Medieval Italian Term: fresco secco or simply a secco (“on dry”)
Simple Steps:
1 | The plaster was allowed to dry completely.
2 | Pigments were mixed with a binding medium (such as limewater, egg, or glue).
3 | The paint was applied onto the dry wall surface.
Key Points:
– Allowed slower, more detailed work
– Colours could be brighter
– Much less durable than buon fresco
– Often used for corrections or added details
Semi-Dry Fresco (Mezzo Fresco)
Medieval Italian term: mezzo fresco (“half fresco”)
Simple Steps:
1 | The final plaster (intonaco) was allowed to partly set.
2 | Painting was done when the surface was damp, but no longer fully wet.
3 | Pigments partly absorbed into the plaster and partly sat on the surface.
Key Points:
– A compromise between wet and dry fresco
– Gave more control than buon fresco
– Less durable than true wet fresco, but stronger than a secco
Quick Comparison
– Wet fresco (buon fresco) → most durable, fast work
– Dry fresco (a secco) → flexible, less durable
– Semi-dry fresco (mezzo fresco) → balanced method