Fresh engraving of two layers of different colored plaster.
Mortar coloration is obtained with natural clays. Ancient fresco-like technique often used for external facades (roof gutter, string courses, etc.)
Altamira decor proposes it for interiors too.
Traditional graffiti is a very old technique, usually used to decorate the facades of the palaces.
During the Renaissance, Italian artists have recovered Greek and Roman knowledge and in the middle of the sixteenth century the technique was described by Giorgio Vasari in “Introduction to the drawing art”.
“…pigliano la calcina mescolata con la rena, ordinariamente, e con paglia abbruciata la tingono d’uno scuro che venga in un mezzo colore che trae in argentino…e con questa intonacano la facciata. E fatto ciò, e pulita col bianco della calce di travertino, l’imbiancano tutta; et imbiancata ci spolverano su i cartoni, o vero disegnano quel che ci vogliono fare; e di poi aggravando col ferro, vanno d’intornando e tratteggiando la calce; la quale essendo sotto di corpo nero, mostra tutti i graffi del ferro, come segni del disegno…il che di lontano fa un bellissimo vedere…e questo è il lavoro che per essere dal ferro graffiato, hanno chiamato i pittori “sgraffito”. Di questa spezie possono essere grottesche, ornamenti e …reggono all’acque sicuramente…vengono fatte nel medesimo modo che si lavorano le figure a fresco o in muro.”
The facade of palazzo dei Cavalieri in Pisa (1562) is created by the painter g. Vasari. By the mid-1800s until the first half of the twentieth century this technique revives and renews itself with new aesthetic solutions through movements like art Nouveau and Liberty. Following further variants were added to the technique, as the work on already dry plaster. Traditionally following the classic method, the Graffiti is done on fresh plaster, in fact is a kind of painting that draws much from the technique of fresco. This are the steps of the work:
1) On the arriccio we put a special plaster made of lime Putty and sand, mixed with powdered pigment (usually we use it black or red, but also other colours are fine)
2) We draw uo one or two coats of lime milk
3) Drawing transfer on a wall: wipe the cardboard on which the real size drawing was fret.
4) As soon as the plaster begins to “pull”, with various shapes irons you start scratching the wall, revealing the dark colour underlying the white.
The 4 stages must be accomplished in a day, as the fresco.
For large surfaces, work must be divided into “days”, plastering a portion at a time.
The graffiti requires a good command and naturalness in the drawing. A secure hand is required because they are not eligible for hesitation, touches or corrections.