RISD Students Explore Centuries-Old Fresco Techniques in Spring Painting Studio

Students in a spring Painting course taught by José de Jesus Rodriguez are exploring the centuries-old tradition of fresco painting, which combines patience, collaboration, and a heightened sensitivity to material. The technique for creating large-scale murals became popular during the Renaissance and involves applying water-based pigments directly onto fresh, wet lime plaster. Although some of the techniques the students are learning have been modified for modern-day purposes, Rodriguez is staying as true to the traditional techniques as possible. 

“The importance of the class is not only that it exposes students to this very historical mode of making images, but it forces them to also slow down and think about process and collaborative work,” says Rodriguez. 

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Students began by mixing together large batches of lime putty and sand or brick dust, which they’ll use to build the surface of the large-scale piece they’re creating together in RISD’s College Building. Each assignment is as much about construction as it is painting, as Rodriguez guides the class through the process, building supports with plywood and learning how different materials interact. 

On a mid-semester afternoon, half of the class mixed the foundation for the piece using hoes, while the other half used hammers and staples to make sure that the wire frame they’d created for the fresco laid flat against the wall. 

Throughout the semester, students also explored burlap frescoes, which are smaller, more mobile pieces that allow for experimentation. They’ve also worked on sgraffito, an Italian technique that involves carving through a top layer of colored slip or underglaze to reveal a contrasting surface underneath. They are experimenting with different etching tools and transfer methods and may get into sculpting before the end of the semester if time allows. 

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The goal is not to produce a perfect fresco, Rodriguez points out, but to equip students with a versatile set of skills and perspectives they can use in their own creative practices. Whether working on walls, burlap, or entirely new supports, they’re developing an understanding of materials, craft, and techniques that amplify specificity and intention.

“I learned fresco painting as an artist-in-residence at Skowhegan,” says Rodriguez, “and the instructors there learned it from some of the original artists who did the WPA [Works Progress Administration] frescoes back in the 1930s. It feels good to pass down this knowledge.”

Kaylee Pugliese
April 27, 2026