Tite Edberg is holding an INTENSIVE WORKSHOP IN BUON FRESCO TECHNIQUES this summer 2009, GOTLAND, SWEDEN.

The workshop offers comprehensive instruction in BUON FRESCO TECHNIQUE as used by the ITALIAN RENAISSANCE MASTERS.

This event is aimed at interested ARTISTS, ARCHITECTS, CONSERVATORS AND OTHER ASSOCIATED PROFESSIONS.

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Giotto By Paulo Uccello

AIMS OF THE WORKSHOP in superlative Gotland include:

# Introduction to BUON FRESCO PAINTING.

# Appreciation of the complexity and techniques for expression of Buon FRESCO painting.

# To enable participants to develop project management skills related to the securing of orders, instructing craft workers, and executing actual painting in the context of commissioned work.

CONTENTS OF THE WORKSHOP INCLUDE:

# FOUNDATION CONCEPTS for BUON FRESCO.
# The Materials of Buon Fresco Painting.
# Transferring a sketch or other image to a CARTON.
# Understanding and Interpreting CARBONISATION and different stages of lime mortar.

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From the life of St Franciscus by Giotto

# Preparing ARRICCIO AND INTONACO.
# Realising participant’s UNIQUE EXPRESSION IN FRESCO via practical exercises and projects.
# RETOUCHING & REPAIR procedures post carbonisation.
# WALLS & FOUNDATIONS for fresco and other MURAL TECHNIQUES.
# WORKING EXCURSIONS to local GOTLAND MEDIEVAL CHURCHES

The workshop will be held in a summer studio in ÖSTERGARNSLANDET, one of Gotland’s MOST BEAUTIFUL COASTAL AREAS.

The STUDIO-WORKSHOP is situated by the sea in an OLD THRESHING BARN FROM LATE 1700.

Number of participants will be 8 APPROX to facilitate MAXIMUM TUTOR INSTRUCTION & SUPERVISION

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Gotland Bicycle by Anna Karina Vestberg

GOTLAND IS A MOST IDYLLIC location to spend time in the summer, with all its historical and nature attractions where one can readily disappear from the normal cacophonies of everyday living. Yet Gotland also offers all the razzmatazz that those interested individuals may seek!

It is more than well endowed with communication facilities physical as well as electronic, basic to upmarket accommodation is available, transport to, around and from the island, internet cafes and the like are all nearby.

FURTHER INFORMATION ON GOTLAND and its amenities etc is available by CLICKING MORE GOTLAND. (Please allow the file time to load to your system. You Must have a .pdf reader installed. Get one HERE if you need to.)

To SECURE YOUR PLACE on a summer workshop (Book early as possible because places are limited.) CLICK BOOK NOW

ABOUT Tite Edberg

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Past Summer Workshop Gotland by Tite Edberg

To SECURE YOUR PLACE on a summer workshop (Book early as possible because places are limited.) Do the following:

Send email to tite@mural.se

Announced date for THE FRESCO WORKSHOP IS:

10th to 29th of July 2009. (Book early, places are limited)

Final booking date for the Fresco workshop is 1st March 2009

Date for STUCCO LUSTRO WORKSHOP 2008 is not yet confirmed. Please contact Tite Edberg for more information about upcoming dates.

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Past Summer Workshop Gotland by Tite Edberg

WORKSHOP FEES ARE:

small_sweden_flag.gif SEK (Swedish Krona) 15 000

small_united_states_flag1.gif USD (US dollar) 2.125

small_european_union_flag.gif EUR (Euro) 1.618

small_united_kingdom_flag2.gif GBP (Pound Sterling) 1.087

Per participant PAID IN FULL BY THE “BOOKING CLOSING DATE” of the workshop concerned.

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Gotland right by studio by Christina Wendler.

We welcome your application and hope to see you on one or both workshops.

THE ANCIENT ART OF CARBONISATION
An amazing, inspiring and durable “Art Form” becoming familiar to a vast potential audience. The application of “PIGMENT” to WET LIME-MORTAR that can offer the expression of the original artist 1000 years later and beyond.

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Hammered & Nailed by John Wipp, (Detail) Photo By Floyd Campbell

“AWAKENING THE ANCIENT ART OF CARBONISATION.”
You may DOWNLOAD & SAVE this informative document by clicking “HERE”

“CORRESPONDENTS,” MEDIA PROFESSIONALS ETC.
You may DOWNLOAD & SAVE the THE SOURCEFILES for the above document by clicking “HERE”

(A password is required to unlock the .ZIP file downloaded, if you need the password you may contact me by sending e-mail to tite@mural.se or calling +46 70 353 9701.

The downloaded .ZIP file has been encrypted with Winzip 11.0. for windows. Some .ZIP utilities may not understand the algorithm used. If you need a copy of Winzip 11.0 click “HERE”

“POSTER” for the associated upcoming Summer Workshops available to PRINT & DISPLAY a copy on noticeboards etc in institutions. Please DOWNLOAD and SAVE by clicking “HERE”

(You need a :PDF reader installed to view the above document & the poster, If you need one, get one by clicking “HERE”)

Full details of the summer workshops and booking information is available in other articles at this site.

Thanks

Tite Edberg.

Tite Edberg is holding an 11 day INTENSIVE workshop on MODERN METHOD STUCCO LUSTRO this summer, 2008, GOTLAND, SWEDEN.

The workshop offers comprehensive instruction in MODERN METHOD STUCCO LUSTRO .

This 11 day event is aimed at interested ARTISTS, ARCHITECTS, CONSERVATORS AND OTHER ASSOCIATED PROFESSIONS

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Self Portrait With Man by Unnamed Pompeii Stucco Lustro (Encausto) Painter

AIMS OF THE 11 DAY WORKSHOP in superlative Gotland include:

# Participants enhanced skills for working in large formats with consideration for Architectural context and specific usage.

# Develop flexibility and expression of Stucco Lustro via Fresco painting technique. (Fresco vs. Smalto considerations.)

# Enable participant’s project management skills related to securing orders, instructing craft workers, and executing actual painting in the context of commissioned work.

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Modern Method Stucco Lustro Painting, Swedish State Theater Stockholm by Ulrik Samuelsson. Photo by Per Bergström

CONTENTS OF THE WORKSHOP INCLUDE:

# MATERIALS of Stucco Lustro.

# FOUNDATION CONCEPTS for Stucco Lustro.

# Preparaing SMALTO mixture.

# Preparing MARMORINE & LIME mixture.

# Preparing ARRICCIO AND INTONACO.

# Detailed PAINTING EXERCISES.

# ADDING DAILY SECTIONS to the painting (GIORNATA -”Day’s Work”).

# GLAZING Stucco Lustro

# WORKING EXCURSIONS to local GOTLAND MEDIEVAL CHURCHES

The workshop will be held in a summer studio in ÖSTERGARNSLANDET, one of Gotland’s MOST BEAUTIFUL COASTAL AREAS.

The STUDIO-WORKSHOP is situated by the sea in an OLD THRESHING BARN FROM LATE 1700.

Number of participants will be 8 APPROX to facilitate MAXIMUM TUTOR INSTRUCTION & SUPERVISION.

gotland-2-blog.jpg
Gotland locale by Tite Edberg

GOTLAND IS A MOST IDYLLIC location to spend time in the summer, with all its historical and nature attractions where one can readily disappear from the normal cacophonies of everyday living. Yet Gotland also offers all the razzmatazz that those interested individuals may seek!

It is more than well endowed with communication facilities physical as well as electronic so basic to upmarket accommodation, transport around, to and from the island, internet cafes and the like are all readily available.

FURTHER INFORMATION ON GOTLAND and its amenities etc is available by CLICKING MORE GOTLAND. (Please allow the file time to load to your system. You Must have a .pdf reader installed. Get one HERE if you need to.)

To SECURE YOUR PLACE on a summer workshop (Book early as possible because places are limited.) CLICK BOOK NOW

ABOUT Tite Edberg

FRESCO OR A SECCO OR ?

February 8, 2007

Whilst preparing this site it came to me that amongst normal folks there is considerable confusion about what is or is not a Fresco.

Is a Fresco simply a wall painting?

Actually no.

A BUON FRESCO is by definition painting on WET LIME Plaster/Mortar.

A SECCO is painted on DRY Plaster/Mortar in the presence of LIME-MILK.

A WALL PAINTING is simply a wall painting without CARBONISATION considerations.

These are the essential differences.

In the interest of clarity I would like to quote a description of the two CARBONISATION techniques from “Wikipedia.”

Technique:

In painting a fresco, the surface of a plastered wall is divided into areas roughly corresponding to the contours of the figures or the landscape, generally drawn on a rough underlayer of lime mortar, called the arriccio. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia. From this pigment, the underdrawing acquired its name, the sinopia. On top of this first, rough layer of plaster, a second layer is added, called the intonaco. This is the final layer, and would be smoothed and perfected as the painting surface.

Buon fresco technique consists of painting in pigment mixed with water on wet, fresh, lime mortar or plaster (intonaco). Due to the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will be enough to bind the pigment to the wall. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries, and the pigment dries as well, a part of the wall.

One of the first painters to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi.

A secco painting, in contrast, is done on dry plaster. The pigments thus require a binding medium, such as egg, to hold the pigment to the wall.

Generally, buon fresco works are more durable than a secco works. Historically, the a secco technique was used more often for final touches or to touch-up mistakes made in a buon fresco work.

Buon frescoes are difficult to create because of the deadline associated with the drying plaster. 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.

Thus, an artist would need to know exactly how much s/he could paint in those hours, before the plaster dries: this area is called the giornata (“day’s work”). Once a giornata is dried, no more buonfresco can be done without removing the dried plaster from the wall– a task usually requiring a crowbar or other sharp instrument– and starting over. Hence the use of a secco to repair minor mistakes or to add finishing touches.

COMMENTS I would like to make in further clarification on the Wiki description are as follows;

The foundation wall MUST be a reservoir for humidity. (DIFFUSION and “BREATHING” throughout the life time of the painting is ESSENTIAL, as it is during the actual paintwork.)

Therefore in BUON FRESCO the foundation wall is ALWAYS made with LIME AND SAND “NOT” cement and sand!

The sinopia is ALWAYS applied to the DRY FOUNDATION WALL.

On each day of painting, (giornata “Day’s Work”) FRESH SECTIONS of WET ARRICCIO layer then WET INTONICO are added to the FOUNDATION WALL. The WET INTONICO layer is the one to which pigment composing the image is finally applied.

This technique enables optimum Diffusion & Breathing, Carbonisation & Crystalisation during the critical 30 days approx period when the pigment itself is being “FIXED.”

LONG-TERM CARBONISATION & CRYSTALISATION of the PIGMENT projects great LUSTRE, BRILLIANCE AND DEPTH OF COLOUR to the final work.

There are essentially 3 TYPES OF FRESCO In the public perception.

# BUON FRESCO (Carbonisation via the presence of lime in mortar.)

# A SECCO (Carbonisation via the presence of lime-milk)

# EVERYTHING ELSE THAT GOES ON A WALL! Including OIL, EGG TEMPERA, CASINE TEMPERA, ACRYLIC OR OTHER POLYMER. (Absence of Carbonisation.)

Most people don’t realise the DIFFERENCE !

Hope this helps.

Further discussion on the techniques are available at the wiki page quoted from. http://en.wikipedia.org/wiki/Fresco

Tite Edberg-Painter

ABOUT Tite Edberg

Welcome

This site is about Buon Fresco, A Secco, Stucco Lustro, Autostacante & Other Architectural Art Techniques.

Watch this space.

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