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Fresco

The technique of fresco painting, known from antiquity and especially popular in the Renaissance and Baroque periods, was used to decorate the walls and ceilings of churches, public buildings, and private dwellings.

Many paintings of this period have engaged frames made of wooden strips attached to the outside edge of the panel, some examples of which survive (2004.442; 41.190.13). Original frames may sometimes bear hinge marks, indicating that the work was once part of a diptych or triptych, designed to be closed. Independent panels were often used on private altars in a domestic setting.

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I've started painting Italian North African troops and had some things be easy and others not so much. For example, it's easy to find how to paint Bersaglieri with contrast paints. Lots of examples. Great! Excellent.

With that, the Fucilieri would wear "desert yellow". It seems a bit more yellow than khaki. So, which particular Contrast paint would be a good fit? Agaros dunes on off-white? Or more Nazdreg Yellow (I haven't used this much). I think the danger is going too yellow-ish. Any suggestions?

What about Black Shirts? They would especially be sun bleached a bit. Lots of places (including Bolt Action website) has them with a grey-green color. Not sure how to repeat that with contrast paints. I could just go with their black as a light layer and it usually shows up as a bit of a washed out dark grey. It could work, but it would be nice to give it a better color. Then again, do they even deserve the effort! :D

The Accudraft ITALIA paint booth system is also available in a pit-less downdraft design where the entire paint booth and mechanicals are installed on a raised steel basement with drive-up ramps. This provides all the benefits of a downdraft airflow paint booth system without the need for expensive concrete work. A fully grated floor provides one of the cleanest finishing environments available.

The ITALIA paint booth system is available as a weatherproof outdoor unit with all elements installed within a self contained enclosure. Valuable shop space is saved and installation downtime is completely eliminated. The entire system can be installed while the rest of the facility keeps right on working.

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PLEASE NOTE: These calculations are not intended to give more than a rough estimate. Precise paint needs will vary according to many factors, including application method. These calculations assume 2 coats of paint and do not include the ceiling.

The ITALIA paint booth system is also available in a pit-less downdraft design where the entire paint booth and mechanicals are installed on a raised steel basement with drive-up ramps. This provides all the benefits of a downdraft airflow paint booth system without the need for expensive concrete work. A fully grated floor provides one of the cleanest finishing environments available.

Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas.[1]

The Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna, and Altichiero. The Early Renaissance style was started by Masaccio and then further developed by Fra Angelico, Paolo Uccello, Piero della Francesca, Sandro Botticelli, Verrocchio, Domenico Ghirlandaio, and Giovanni Bellini. The High Renaissance period was that of Leonardo da Vinci, Michelangelo, Raphael, Andrea del Sarto, Coreggio, Giorgione, the latter works of Giovanni Bellini, and Titian. The Mannerist period, dealt with in a separate article, included the latter works of Michelangelo, as well as Pontormo, Parmigianino, Bronzino, and Tintoretto.

The influences upon the development of Renaissance painting in Italy are those that also affected architecture, engineering, philosophy, language, literature, natural sciences, politics, ethics, theology, and other aspects of Italian society during the Renaissance period. The following is a summary of points dealt with more fully in the main articles that are cited above.

A number of Classical texts, that had been lost to Western European scholars for centuries, became available. These included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in Humanist philosophy meant that man's relationship with humanity, the universe and with God was no longer the exclusive province of the Church. A revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting, which manifested itself as early as the 1420s in the paintings of Masaccio and Paolo Uccello.

Simultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of Byzantine and Islamic scholars.The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public. The development of oil paint and its introduction to Italy had lasting effects on the art of painting.

Much painting of the Renaissance period was commissioned by or for the Catholic Church. These works were often of large scale and were frequently cycles painted in fresco of the Life of Christ, the Life of the Virgin or the life of a saint, particularly St. Francis of Assisi. There were also many allegorical paintings on the theme of Salvation and the role of the Church in attaining it. Churches also commissioned altarpieces, which were painted in tempera on panel and later in oil on canvas. Apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the Madonna and Child.

During the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Patrons of art works such as altarpieces and fresco cycles often were included in the scenes, a notable example being the inclusion of the Sassetti and Medici families in Domenico Ghirlandaio's cycle in the Sassetti Chapel. Portraiture was to become a major subject for High Renaissance painters such as Raphael and Titian and continue into the Mannerist period in works of artists such as Bronzino.

Other motifs were drawn from contemporary life, sometimes with allegorical meaning, some sometimes purely decorative. Incidents important to a particular family might be recorded like those in the Camera degli Sposi that Mantegna painted for the Gonzaga family at Mantua. Increasingly, still lifes and decorative scenes from life were painted, such as the Concert by Lorenzo Costa of about 1490.

Important events were often recorded or commemorated in paintings such as Uccello's Battle of San Romano, as were important local religious festivals. History and historic characters were often depicted in a way that reflected on current events or on the lives of current people. Portraits were often painted of contemporaries in the guise of characters from history or literature. The writings of Dante, Voragine's Golden Legend and Boccaccio's The Decameron were important sources of themes. 2351a5e196