Malika Favre - an outstanding Pop Artist of the present - a review of her work and style

A good place to start !

Once in a while, an artist appears on the scene that has that Wow! factor.

I must admit that I do have a fondness for Pop art, more specifically the Roy Lichtenstein / Andy Warhol type of style.

So, when I came by Malika Favre's art on Pintrest, immediately I was drawn to it.

Pop type illustration and art is something I like to do and I endured the wrath of a Royal Academy trained art teacher at school art classes who couldn't handle me using black, bold lines to define shapes. I still do when it suits the work.

To me, Pop Art is about impact and simplicity.

Many years ago, I was looking at the work of Brian Cook, a British artist of the 1930's who did advertising posters for the railway companies, his work was in colour, but the colour printing of that time was defined by the primitive colour printing processes of that time - solid colours and 8 colours usually.

Brian Cook developed a radical 'colour impact' style, as did others of the time such as E.MacKnight Kaufer, who used colours, boldly too on advertising posters.

Marika's art is bold, colourful and economic, its beauty is its simple and economic use of line and form, like a good dish from a Chef it is never 'over egged' or over worked.

The work uses clever geometry, use of colour and use of line that suggests shape to the eye and the brain, coupled with great original ideas. Her work scores top marks on every front.

She is not 'stuck' in a particular theme either, taking on fashion, book cover illustration work and more, rather than some artists who get a hit piece and milk the style of it dry.

You can choose any number of landmark artists such as Picasso, Monet, Roy Lichtenstein, Andy Warhol who produced 'signature' style art. Marika Favre is up there with them. Like those I mentioned, they came up with 'signature' styles of work, she is one of the newer examples of what is great and 'signature'.

Sometimes the most simple of things are the best, a few simple ingredients used by a Chef can make a great meal, the same goes for Marika Favre's work, simple lines, mostly block colours, clever use of line and great draughtsmanship, coupled with great ideas.

By simple, these works likely take a lot of time to achieve and make look 'simple,' but it is more than that, it is the great ideas in the mind of the artist which translate onto paper or whatever medium you apply it too. Like a musician, you might have a signature sound, but unless you have great musical ideas, it sounds samey.

I find Marika's work is refreshing and exciting, it is new, fresh and wonderful!

Gretsch 5420T Silver Sparkle Bigsby B6C and Roller Bridge upgrade

Upgrading the Gretsch 5420T Silver Sparkle guitar with a USA Bigsby B6C and Vanson Roller Tunamatic style Bridge

The Gretsch Silver Sparkle 5420T with the modified 5420T in Fairlane Blue

Recently, I purchased a near new Silver Sparkle 5420T and it had the same old Bigsby issue as I have had from my old 5120, the lack of screws in the base plate and that the plate doesn't sit flat to the body. So I decided to improve matters as I had done on my Fairlane Blue one.

The upgrade is quite simple to do, the only proviso is to measure carefully. Here's how I did it stage by stage.

I marked up the position of the original Bigsby with masking tape and a thinline Pentel marker pen to show the centreline of the string path, so you can line up the new unit to this.

I prepared the Vanson Roller bridge to go on to the Rosewood bridge base. Note that on these Electromatics, the base is secured TO the top by the Hex bridge post pins that go through the bridge and into the body bracing -  the Tunamatic lifts off.

Note I have marked the string's centre path position on masking tape stuck to the body top, behind the Rosewood bridge to help with alignment.

If you need to remove the bridge base, these Hex top posts have to be unscrewed with a small Hex Allen wrench - the base does NOT just lift off as on the 2014 and earlier guitars!

A brand new USA made Bigsby B6C V type trem - I love this design!

My test offer up. Note that I have put on a masking tape strip to the body top, which I have marked the centre line of the string's path between D and G strings on. 

This is continued on the body end (covered by baseplate in this photo) as a guide.

Before drilling the new base plate mounting holes, ensure that on the body top, near the handle, that the felt pad located on the underside of the new Bigsby there, sits flat to the body.

Also check that the felt pad on the other side opposite is also flat to the body. At this stage, I also check the string alignment path before drilling the holes. Already this looks so much better than the old style unit.

Here's the end result, I think a great improvement, both visually and sonically too.

Looks very functional, this B6 is far better but that's because it costs a lot more!

It has a nicer action when operating the handle.

The 5420T Gretsches equipped with the B6C V type unit and Vanson Roller Bridges.

This simple upgrade really makes them more functional and visually more 'pro series' looking.

The B6C upgrade gives you a vibrato with a nicer action and feel than the one fitted to the guitar as standard. The Roller Tunamatic by Vanson also gives you intonation adjustment and also allows the strings to move on the rollers rather than 'hang up' on the wedge saddles of the standard Tunamatic, which can happen once strings get a bit old.

I have the B6C V type on most of my Japan Gretsch guitars except the Brian Setzer signature 59 style 6120's. I prefer the look visually.

The Vanson is a good bridge as it fits to the posts of the bridge unit and is smooth in operation. Wilkinson also do a version which is higher mass and would also fit. I found some Wilkinson 'Kluson' style 3+3 machine heads which would be a good replacement in time as they have finer gearing and can be greased to prolong their operating life.

I hope that this has been a useful guide.