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Unformatted text preview: guinea pig in establishing the right key. This is one reason why a fresco painted directly on the wall, where it will always be seen, has a better chance for being right than does a mural painted on canvas in the artist's studio, and later glued to the wall. On a large fresco toward the beginning of the work it is sometimes difficult to key the color. The first sections are so high and isolated that there is nothing to which to key the color, value and intensity. It usually takes one patch, or less, to serve as the guinea pig in establishing the right key. In addition as the work progresses the fresh new plaster is darker than other previous (and dry) patches next to it; it takes experience to trust that each daily section will match the previously completed ones....
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This note was uploaded on 11/05/2011 for the course ARH ARH2000 taught by Professor Karenroberts during the Fall '10 term at Broward College.
- Fall '10