How do I market a fresco mural to a client who is attracted to the less expensive, non-fresco, alternative?

What would be the cost difference as you see it?

I am new to frescos, but would imagine that the materials for a fresco mural would be much more expensive than using acrylics to do a mural

The cost difference can get more dramatic than just the more expensive materials - its like painting the mural 2-3 times plus no changes can be made once its painted. Definitely not for the average client. However it gives the great advantage while marketing yourself as an artist.

People love fresco for the authenticity, the glory, and unachievable in any other media depth of the pure colour and feel, etc., etc.

For the beginner its best to start with the small panels, this way exhibitions and demonstrations can be made, as well as panel can be sold as an individual piece or used as an example to show to the potential client the difference in the feel and touch between the real fresco and the mural (acrylic or whatever).

Speaking of costs, how do you suggest prepping these "small panels", ie: what and how many plaster layers before intonaco?

You can omit one of the base plaster coats, just make sure they add up to be more than 1/2 inch in thickness. use rough and float plaster coats + intonaco

Hi SDDP, (can I call you SD for short?)

I am new to estimating myself. The main advantages to fresco, over acrylic, are:

A) a fresco develops a patina, "lived in look" over the years, whether outside or inside. Acrylics, in my experience, cannot make this claim. Fresco works it way in your heart, like a familiar face, and stays for generations. Acrylic, usually suffers the fate of boredom, if used for interior decoration, and is often destroyed by an over zealous decorator or homeowner. Even if fresco is painted over, it can most often be recovered, whereas acrylic cannot. Fresco is often an acquired taste, a mystery like how a 90 year old man can fall passionately in love with a 90 year old woman - you would think they would be lusting over 20 year olds - not the case. In the same example, why would anyone purchase a bottle of imported red wine when they can buy a whole box full at Wal mart for the same price?

B) another thought, to lower prices, is that you can have a skill inventory of painted elements and cartones which you can use over and over again. This technique was used by fine artists in the Renaissance. To pay for your own art, (which you are sweating blood over and will never be fairly compensated for), you offer fresco panels of popular or decorative subjects, often unsigned. The masters could knock off say a cherub (putti), or a crucifix, or a Mother Mary, in record time, and get paid very well for it. This is almost like being a fine artist who does tatooes on the side! The secret is to practise, this also very impresses potential clients for more highly paid work on how fast you can work. In my opinion, there are many fine artists who are already working in this "factory" approach, so it is a good technique to follow anyways. Today's galleries want a full house of works to make it worth their effort and expense.

c) By going through the only slightly higher expense of installing the fresco on a removable panel, you are vastly increasing its earthquake proofness, and the owner can move it or sell it when you are mega famous or mega infamous.I guess acrylic can do the same though.

I have many more! Will post as I remember them.

I just thought of another one, I better get I down before I forget it!

If your client is thinking about "fresco" because they like the antique, Pompeii, type look - then real fresco is the only way to go. You can utilize the fact there are multiple coats for antiquing by chipping away the top layers to reveal underlayers. Don't forget you can tint or color the layers - there is a whole other art form called Sgraffito, scratched plaster or white cement, which uses this technique to beautiful effect for interior and exterior applications. With practice, you can also initiate cracks. These cracks, sputters, chips, tool marks and pops (all plaster defects!) can never be properly reproduced in acrylic. The surface can also be wet sanded after curing, to further simulate natural wear. Again, this is a practice thing, and a learning curve I am on myself - don't expect a video anytime soon! Study the antique frescos and figure it out.

Hi - I'd like to add another really fab reason for fresco work - it can't be stolen! Theives can steal the Mona Lisa just by lifting it away from the wall - not so the work in the sistine chapel!

I'm a trainee plasterer and a great fan of real (buon) fresco and would love to be good enough one day to have the honour of doing plasterwork for an artist. I also have an art qualification so I can appreciate how all the work is done!

Regards

Suzie

Hi
The traditional aim of creating mnumental works of fresco was "seducing" the mass to come to the church by producing him with a big "show". A more modern approach (mine) is that objects of art present themselves the best way in places where everyday life goes on rather than in special art galleries and in that way an environment of culture is created. I create commissioned works of Buon Fresco in schools and public centers. It is great. I love it.

When I used live in Italy I did a number of 'pseudo frescoes' for people's homes'. I prepared a plaster surface on the wall and sanded it down very finely and then painted on it with acrylics, building up layers to create a lovely resonant effect. It's not a true fresco but looks wonderful and lasts--it's also not as labour intensive.

You can email me if you have any questions.
Angela