Sunday, October 9, 2016

Process of two unique projects

The artistry of two talented people!

The luthier Giannis Tsoulogiannis (www.Hijaz.gr)  sent me today new photos from the unique mandolino-tzourado conversion process
The ebony fret-board has been placed and glued on top of the mandolin's extended neck.

The luthier has finalized the formation of the fret slots

The side white fillets  have been placed on fret-board and the neck close to the sound-hole has been shaped.

Placement of natural sea-shell fret-marks.

On another note the  hagiographer, Eva Miskou Varela ( eva.miskou.gt@gmail.com ), sent me today new photos, showcasing the final layers of egg tempera painting, and her unique process on  re-creating  an 1860 Virgin Mary icon.

Natural colored pigments
Final layers of clothes
First base layers of skin tones
Final layers of skin tones

Wednesday, September 7, 2016

The color filling State

And the difficult egg- tempera technique!

The  talented hagiographer, Eva Miskou Varela ( eva.miskou.gt@gmail.com ), sent me today new photos,  showcasing the first layers of painting, applied on the Virgin Mary's and Christ's clothes   

The artist used the old traditional Byzantine technique of egg tempera, a permanent, fast-drying painting medium consisting of natural colored pigments in powder form , mixed with egg yolk, and vinegar.

Egg tempera technique requires the application of thin and nearly transparent glazes of paint, laid on top of each other until the desired color, saturation and shadows are achieved. This is necessary because egg tempera dries quickly and cannot be blended once applied.

The hagiographer builds her composition from bottom up, starting with the areas which carry shadows and darkest tones, and passing  to the lighter areas and the highlights.

Stay tuned, as the beauty of this  19th century Byzantine icon comes back to life 

Wednesday, August 31, 2016

Just before the "αρματωμα" (before passing the strings)

And the beautiful, vibrant, yellow-color, mulberry woods!

The luthier Kostas Zarkadas, started using the difficult and time consuming technique of "Gomolaka with mpala" (Shellac application with muneca or "French polishing" ), on the soundboard of his Elite tampourobouzouko.

As I have written on an earlier post, " the primary reason for using this kind of finish, is because, the shellac once been applied, dries almost instantly, and when several layers have been applied, is extra lightweight with a beautiful lustre, that allowed all the natural timbre and overtones of the sound woods to vibrate freely, and the rich fullness of sound to be set free.

The following photo showcases the beautiful vibrant yellow-color of the mulberry woods after the application of French shellac's  final layer.

At the end the luthier applied on the instrument's body a polyurethane varnish with 2 ingredients ; The well known ER-LAC

Stay tuned !