|Jonah, Sistine Chapel fresco,|
As one might guess from such a modus operendi, as much time and energy went into planning the work as actually creating it. The overall scheme of things had to first be decided, rendered on paper in great detail, drawn to scale, then full-size drawings called "cartoons" created on massive sheets of paper, usually in charcoal. Following this, a number of means were used for actually transferring the images to the wet plaster. Some artists merely cut up the cartoons into the various shapes they were using and dabbed a little paint around the edge in a stenciling manner. Others created an image in the plaster with the handle of the brush by making an impression through the cartoon. Still others made tiny holes about an inch apart all around the outline though which was daubed black soot, leaving a dotted outline of the figure.
The real drawing though was done with the paint brush. The artist had to literally draw in color inasmuch as only the barest of details could be outlined into the plaster. Here the artist's instincts ruled. Perhaps the most difficult part was that the work had to be created from a distance of perhaps only a foot or so from the surface yet be visually coherent from perhaps a hundred feet away. Perhaps the closest thing in existence today is the work of those hearty fools who climb up on the flimsiest of scaffolding and paint billboards for a living.