Embedded Files
Object: Alfa Romeo emblem Commission
Materials: Smalti, Marble and Vitreous Glass Tile
Dimensions: 18" diameter
Method: Direct on mesh and installed on cement backer board
My client, Takis, loves many a quality car, but the Alfa Romeo brand holds an extra special spot in his heart. Admiring the ancient works of his Greek ancestors he asked me to make a mosaic of his favorite emblem.
This was a great opportunity to use a variety of materials. Each was chosen to properly represent the design of the logo as well as to add interest to the overall piece as a mosaic.
Close-ups & Process
Close-ups & Process
01 Detail.
02 The Alfa Romeo emblem has evolved throughout its history. The timeframe my client particularly favors is 1946-1971. Though I used the lower graphic to base my base drawing on, a photo of a true emblem was used to inform my approach to this project, especially the silver outer border.
03 A little experimentation was called for to setup the unit size for the Italian smalti I wanted to use for the lettering. I set up the letters to dry fit the placement.
04 The "cartoon", line drawing of the logo, is drawn on paper. It is covered with transparent plastic and then mesh. Mortar is used to attach the smalti. Careful attention is paid to have a generous amount of mortar between the glass. This simulates the more traditional method of pushing it directly into a bed of mortar.
05 Vitreous tiles are cut to outline the smalti letters. The smalti was cut so the lettering is raised above the flat field of blue.
06 Vitreous tile is used for the blue field and flag design. The roughness of the border of marble is used as a way to suggest the texture of the logo's elaborate edge without trying to duplicate it exactly. I wanted to emphasis to stay in the main portions of the emblem.
07 The gold edging is achieved by cutting yellow/gold transparent tile into strips and laying them on end. Light bouncing around inside them simulates the glint the metallic edging of the Cloisonne look of the emblem. White mortar is used to make sure the glass stays bright.
08 The dragon drawing is traced onto the mesh to make sure all the details are clear when working on this detailed section.
09 Various types of green, including semi-transparent, is used, again to simulate the Cloisonne look of the true emblem. White mortar is used on this section as well to keep bright any tiles not fully opaque.
10 Shaping specific pieces for details, a needed deviation from the traditional shapes of the tesserae I prefer to work with.
11 Dooh! A little too focused on details can be a dangerous tunnel vision zone to be in. Almost forgot the crown. I removed some of the background and fixed my error.
12 Omission solved.
13 Completed design, ready adhere to substrate.
14 A look at the back of the work so far. It is a mixed bag of opinions on how much mortar to apply to the mesh. In this case I apply enough for adhesion until the entire piece is embedded into a layer of mortar. It will ooze into the open areas locking everything effectively.
15 After trimming the mesh at the edges, the piece is adhered to a prepared cement board with mortar. An edge is left to shape a beveled edge of grout.
16 The marble was masked off for the grouting process. Afterwards I find there is something not quite right about it. The design of the dragon is too soft overall.
17 Re-grouting the right section with black. It stains the existing grout. I wanted more "oomph" in the play of colors there.
18 Better contrast within the dragon.
Page updated
Report abuse