Lime: Natural lime called calcium carbonate, undergoes various chemical changes with water to return to its primary state which, is not affected by external factors. Lime of Ranoli in sikar district was very suitable for wall paintings as it was processed on wooden fire. This lime had the right quantity of gypsum to ensure stability of the paintings. Lime soaked in water for ta long time to allow the impurities to settle down and then the useless upper thin transparent layer of carbonated was removed. This thin transparent layer reacted with the colours to make them ineffective and so has to be removed every day. By this useful process lime could be stored for years. In the local method gums, sarees, methi, gur, curd etc. were mixed with lime to make it more soft, shiny and homogeneous. This paste used for plastering was locally called “Sudha Bandan” or “Panna”.

Earlier the ground of river Katli and Aravalli hill was cinsidered good. Finely powered sand had to be brought from Makrana by camels, which used to be an expensive affair. So sometimes, the gorund sand of Katli river was finely powdered and used on the lower surfaces and the finely powdered sand from Makrana was used for the upper surface. The use of finely powdered sand may be seen in the cenotaphs and temples of Mandawa.

Plaster work (plastering) : Before plastering the wall was made sufficiently wet so that it did not absorb more water from the plaster. After that the wall was rubbed with a hard brush. So that, the plaster could be gripped propped four coats were used it provide stability to the plaster.

First coat (plastering) : This was called primary plastering. In this process ¾ part roughly powered sand and ¼ part lime was used, which was thrown sharply on the walls from a distance of about 50-60 cms so that the plaster would adhere to the wall. This 1” to 2” thick laver was centered in an upper direction to fill the holes and drive out the inner air between the wall and the plaster. This plaster was leveled by the leveler known as “Batkara”.

Second Coat (plastering): For this surface three fourth part roughly powdered sand and one fourth part lime were mixed. The mixture was made less wet than the first layer. This plaster of equally good quality was centred in an upward direction like the first layer. Sometimes the paste would be mixed with the husk of rice. Fibres of Jute and Cow dung (gobar). Lime purifed and in Shekhawati. It was mixed with
“Gur” (jaggery) – to solidify it and dense and non sticky, ‘Methi’ (Trigonella gracieum) – for hardness and to prevent cracking, Curd – for smoothness, shine and purity and shell as a binding agent in this solution. Through this process the chemical activity of lime was neutralized.

Third Coat ( plastering): In this process 2/3 part finely powdered sand and 1/3 part lime was used for plastering 40-50 minutes after the second coat.

Fourth Coat (plastering): For this plastering ½ part finely powered rock and ½ part lime was mixed and centred in circular form to make the layer even and smooth. It was then polished with a very fine paste called. “Sudha Lape” which was very smooth and shinny. This paste would be applied four or five times and each time it would be polished – a process called ‘Mohra’ in local language. This process was repeated until the surface become shiny. This would not allow the air to enter and fill the creak. It would then be polished with coconut. To perform this process needed great patience and control. All these processes were responsible for stability of colour.

Painting procedure
Sketching: ‘Rekha Karm’: Brush & Sketching are the principle agents of painting, which facilitate the process of wall painting. A rough sketch is made on paper with a sharp pointed needle or spine used for punching the line on the sketch after which it is put against the wall. Colours are rubbed lightly by hand on this sketch so that the colours can reach down to the surface, a process called ‘Jharna’ (Khaka) in
Local language. The colours give an idea to the artist for sketching – dark black againt a dark yellow colour is considered good for sketching on a white wall. Following this process painting is done.
Painting (or pigmentation – Varn Vyas): The colours most suitable for wall paintings are mineral colours that do not react with lime. They are obtained from rocks and sand, for example, Ram Raj, Hir Mirch flingul, Hara Bhata, Neel (Indigofera Tendora) Gaugoli Kajal, Kharia etc. Aravali hills have been a very useful source of these colours. Paintings with these coloure can be seen in the Shekhawati region.

The process of making colours
‘Kharia’(white colour from  chalk): The use of hard chalk can be seen. Finely powdered chalk is mixed with water left for two or three days after which the water is filtered. The filtered water is used as a white colour for painting.

‘Hara Bhata’ (Terra Verte): Hara Bhata is rubbed on a stone to remove the impurities and the above process as for chalk is repeated.
‘Hir Mirch’ (Dark Red): These colours are also obtained in the pure form by the sieving procedure as described above for chalk.

‘Kajal’ (Lampu Dark): An earthen pot is kept in an inverted position at a certain distance above a burning lamp of mustard or sweet oil seed so that carbon (lamp black) gets collected on it. The deposit is removed as black colour, which is mixed with gum of Acacia tree according to the desired consistency. Charcoal powder is also used for black colour. In wall painting skimmed milk or casein is also used with black colour to impart stability. In Shekhawati fresh milk is also used for thisd colour.

‘Kesula’ (Dark Yellow Colour): This is obtained from the vegetable pigments. The yellow flowers are kept soaked in water in an earthen pot for twenty days. The residue is powered on a stone. After filtering it several times with pure colour is obtained. At times fresh milk is also mixed. The use of this colour can be seen the region of Bissau, Ramgarh etc.

‘Kariya’ (Light Pink Colour): this colour is also made with local pigment vegetables. The flowers of Kair bushes are kept in an earthen pot for one month with water. The process as described for ‘Kesula’ is performed to obtain the pure colour. As the procedure is very difficult this colour is used very rarely. In the cenotaph of Malsisar this colour has been used.

‘Rohira’ (Saffron colour): this color is obtained from local vegetable pigments. The flowers of Rohira (Tecomella undulata) tree are socked in water for 2-25 days and the process as in “Kesula” and Kariya is performed to get the pure colour. It is mixed with fresh milk for use in painting. This colous has been used painting of Mahanar.

‘Khinpe’ (Dark Green Colour): This colour is prepared from Khinpe (Leptedenia) plant. The long and fresh fibres of this plant are soaked in water for one month and then cleaned with fresh milk water. This pure colour is stored in a coconut shell.

‘Singh Ruf’: Rumy Singh Ruf is used in the painting of shekhawati which is ground in the mortar with the milk of sheep for 2 or 3 days so that colour gets cleared. The material obtained from the procedure is cleaned with water and lemon juice. The water is filtered off and the upper layer of colour is used. The lower layer is discarded because the quantity of mercury is more. If necessary it is mixed with gum of Acacia and stored in coconut shell.

‘Sindoor’: this colour too, is prepared by the above method. Lac colours are prepared from the bark of Banyan and Lac trees. The bark of tree is left in water for decomposition. After two days the coloured water is removed in an earthen pot and heated on fire with borax(Suhaga). The wather evaporates to leave behind a red residue. The red residue is collected in the dry state to cbtain a colour called “Kiram Ka Rang”. The method is possible only in an earthen pot. The green colour os Lac is prepared in a copper vessel, and dark blue colour in a green vessel.

‘Hilkari’ (Colour of Silver and Gold): In a clean china clay bowl transparent chips of the rare metal with a few drops of water and ground in the bowl. This solution is hearted on slow fire and mixed with salt for purification. The upper layer of water is removed by decantation. The lower laver is allowed to solidify or frozen. If needed the gun of Acacia is also mixed with it and it is stored in a shell of coconut. The beautiful effect of Hilkari may be observed in the havelis of Mahansar, Sikar, Ramgarh and Fatehpur. In the ancient literature of art an exhaustive list of colour materials, their methods of preparation and their constituents have been described. The effect of these colours may be seen in the painting of Shekhawati.

Vartana (Final touch of Shades):‘Vartana’ is the process whereby final touches given to the painting to ‘Vartana’ is performed for three principle effects which are a) Reduction, b) Enlargement and c) Standard.

Every painter starts with the process of sketching for which yellow colour is considered good. “Vartana” makes the painting complete and is performed in three step a) Cross line, b) Slumping and c) Dots.
The above three steps bring liveliness to the painting. The cross line system that imparts dense and deep effect to colours has been used in the Havelis of Fatehpur. The Above three steps have been demonstrated in the Clay Place of Silar.

After ‘Vartana’ the painting are rubbed lightly with a soft cloth to check the stability of colour. If the colour runs on to the cloth it is again polished with Akaki Stone after which coconut is rubbed on it to remove the impurity. This make the painting shiny. The simplicity and easy with which colours have been used in the paintings of Shekhawati have made the popular colours play a great role in giving motion, tone and originality to the work. The effect remains marked in the mind of an artist. The selection of colours has been done with a deep understanding of psychology. These painting have been painted with brilliant colours, which attract the local folk. Most of the Shekhawati painting have been prepared in a rectangular form, which imparts continuity in motion and interest.