The fresco for a wall, for example, would be worked out first in a series of smaller sketches before the final design was drawn to full scale on huge sheets of paper (the “cartoon,” from the Italian cartone, meaning “big paper”). Cartoons came in for especially rough handling: to transfer their designs to the plaster, artists might score them with a sharp instrument, or outline the main figures with a series of pinpricks (“pouncing”), and then blow charcoal dust through the holes.