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Ragging can be done as a negative or positive technique. The former involves rolling glaze over the entire surface, and removing it with clean rags to reveal the underlying paint color in a pleasing textural pattern. The latter is accomplished by applying glaze directly to the wall with a rag, and creates a similar pattern.
Rag painting or ragging is a glazing technique using twisted or bunched up rags to create a textural pattern. Sponging is a free-form finish achieved by applying glaze to the wall by dabbing a sea sponge, in various shapes to achieve either simple design (resembling the wall papers) and more sophisticated ones.
According to the Benozzo Gozzoli Museum, Castelfiorentino, Italy, the "Strappo" technique is the least invasive method of wall painting removal because unlike stacco a massello or stacco, it "involves removal of only the topmost layer of plaster, which has absorbed the pigment" as described in the video, The Strappo Technique produced by the ...
When the technique is used for wall glazing, the entire surface is covered, often showing traces of texture (French brush, parchment, striae, rag rolling). Either oil-based or water-based materials are used for glazing walls, depending upon the desired effect. Kerosene or linseed oil may be used to extend the "open" or working time of oil-based ...
Sgraffito on walls has been used in Europe since classical times. It was popularized in Italy in the 15th and 16th centuries [2] and can be found in African art. In combination with ornamental decoration, these techniques formed an alternative to the prevailing painting of walls.
During the 18th century, new techniques were perfected for the restoration and conservation of ancient works of art, including methods of detaching fresco paintings from walls. Detachment involves separating the layer of paint from its natural backing, generally stone or brick, and can be categorized according to the removal technique used.
Fresco (pl. frescos or frescoes) is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall.
Intended murals are normally painted on large canvas in the studio and attached to the wall on site, using a starch based glue (applied to the wall only), the murals can then be moved (by a professional) and re-instated elsewhere if required. The damage caused to the painting if removed using this technique is minimal.