I am making available the links to some of the books that inspire my work and the formulas for my Spanish tempera, Legacy Paint, for furniture—which I am thrilled to share on my website today. I hope you enjoy them as much as I do, and that you are captivated by the wonders of human ingenuity in Spain during that era!!!
Hugs,
Macu & Aroa ❤️
LINKS!!!
​
Hi!!!
We are a mother-daughter team, and we share a mission that takes us constantly from our workshop to the archives of the National Library of Spain. As researchers and artisans, we find ourselves in the middle of a cultural rescue mission that goes far beyond simply "fixing furniture."
While analyzing treatises from 1775, such as the 'Discourse on the Popular Education of Artisans', we’ve confronted a painful truth that remains relevant today: for centuries, the mechanical and manual arts have been condemned to debasement and ignominy. The prologues of these ancient texts already denounced how this knowledge was devalued, dismissed as something "for the lower classes." They chose to forget that true craftsmanship is, in reality, a system of positive knowledge and invariable rules.
The Missing Link: Spanish Post-War Furniture (1940-1960)
Today, we are living through a second wave of that "ignominy." Many people look down on Spanish Post-War historicist furniture. They say it isn’t "heritage," that it’s just "old" or poor quality. However, we have discovered that it is the last refuge of the "fine hand" (master craftsmanship). These were artisans who, often unknowingly, were still working with the mineral logic of these 18th-century treatises: wood that must be allowed to breathe.
The Science We Are Throwing Away
In the documents we are sharing with you, you won't find "cooking recipes"; you will find applied mineral chemistry:
Living Matter: Stucco made of slaked lime and powdered marble which, when mixed with linseed oil, "expands day by day." This is not an inert layer; it is a structure that petrifies and consolidates with the wood.
Reaction Dyes: The use of quicklime, calcined alum, and Brazilwood. These are not surface stains; they are chemical reactions that transform the cellulose from within.
The Geology of Furniture: The study of Gypsum (calcium sulfate) and its exact firing temperatures to create eternal finishes.
Our Work: Dignifying History
Our mission is to bring back this lost knowledge through a contemporary adaptation. We don't rescue out of nostalgia; we research to elevate craftsmanship back to its rightful place. We want a piece of furniture from the 1950s to stop being seen as an ephemeral object and to be understood for what it truly is: a jewel of high chemical and technical composition.
I’d like to open a debate:
Isn't post-war furniture the last witness to a mineral wisdom that we are letting die under layers of industrial melamine and plastic?
​
Hi everyone. We are a mother-daughter team, and we share a mission that takes us constantly from our workshop to the archives of the National Library of Spain. As researchers and artisans, we find ourselves in the middle of a cultural rescue mission that goes far beyond simply "fixing furniture."
While analyzing treatises from 1775, such as the 'Discourse on the Popular Education of Artisans', we’ve confronted a painful truth that remains relevant today: for centuries, the mechanical and manual arts have been condemned to debasement and ignominy. The prologues of these ancient texts already denounced how this knowledge was devalued, dismissed as something "for the lower classes." They chose to forget that true craftsmanship is, in reality, a system of positive knowledge and invariable rules.
The Missing Link: Spanish Post-War Furniture (1940-1960)
Today, we are living through a second wave of that "ignominy." Many people look down on Spanish Post-War historicist furniture. They say it isn’t "heritage," that it’s just "old" or poor quality. However, we have discovered that it is the last refuge of the "fine hand" (master craftsmanship). These were artisans who, often unknowingly, were still working with the mineral logic of these 18th-century treatises: wood that must be allowed to breathe.
The Science We Are Throwing Away
In the documents we are sharing with you, you won't find "cooking recipes"; you will find applied mineral chemistry:
Living Matter: Stucco made of slaked lime and powdered marble which, when mixed with linseed oil, "expands day by day." This is not an inert layer; it is a structure that petrifies and consolidates with the wood.
Reaction Dyes: The use of quicklime, calcined alum, and Brazilwood. These are not surface stains; they are chemical reactions that transform the cellulose from within.
The Geology of Furniture: The study of Gypsum (calcium sulfate) and its exact firing temperatures to create eternal finishes.
Our Work: Dignifying History
Our mission is to bring back this lost knowledge through a contemporary adaptation. We don't rescue out of nostalgia; we research to elevate craftsmanship back to its rightful place. We want a piece of furniture from the 1950s to stop being seen as an ephemeral object and to be understood for what it truly is: a jewel of high chemical and technical composition.
I’d like to open a debate:
Why do we accept that "heritage" stops at the 19th century?
Isn't post-war furniture the last witness to a mineral wisdom that we are letting die under layers of industrial melamine and plastic?
Do you believe that craftsmanship still suffers from the same "ignominy" they spoke of in 1775, or are we in time to reclaim the artisan as the true guardian of matter?
​
Hi everyone. We are a mother-daughter team, and we share a mission that takes us constantly from our workshop to the archives of the National Library of Spain. As researchers and artisans, we find ourselves in the middle of a cultural rescue mission that goes far beyond simply "fixing furniture."
While analyzing treatises from 1775, such as the 'Discourse on the Popular Education of Artisans', we’ve confronted a painful truth that remains relevant today: for centuries, the mechanical and manual arts have been condemned to debasement and ignominy. The prologues of these ancient texts already denounced how this knowledge was devalued, dismissed as something "for the lower classes." They chose to forget that true craftsmanship is, in reality, a system of positive knowledge and invariable rules.
The Missing Link: Spanish Post-War Furniture (1940-1960)
Today, we are living through a second wave of that "ignominy." Many people look down on Spanish Post-War historicist furniture. They say it isn’t "heritage," that it’s just "old" or poor quality. However, we have discovered that it is the last refuge of the "fine hand" (master craftsmanship). These were artisans who, often unknowingly, were still working with the mineral logic of these 18th-century treatises: wood that must be allowed to breathe.
The Science We Are Throwing Away
In the documents we are sharing with you, you won't find "cooking recipes"; you will find applied mineral chemistry:
Living Matter: Stucco made of slaked lime and powdered marble which, when mixed with linseed oil, "expands day by day." This is not an inert layer; it is a structure that petrifies and consolidates with the wood.
Reaction Dyes: The use of quicklime, calcined alum, and Brazilwood. These are not surface stains; they are chemical reactions that transform the cellulose from within.
The Geology of Furniture: The study of Gypsum (calcium sulfate) and its exact firing temperatures to create eternal finishes.
Our Work: Dignifying History
Our mission is to bring back this lost knowledge through a contemporary adaptation. We don't rescue out of nostalgia; we research to elevate craftsmanship back to its rightful place. We want a piece of furniture from the 1950s to stop being seen as an ephemeral object and to be understood for what it truly is: a jewel of high chemical and technical composition.
I’d like to open a debate:
Why do we accept that "heritage" stops at the 19th century?
Isn't post-war furniture the last witness to a mineral wisdom that we are letting die under layers of industrial melamine and plastic?
Do you believe that craftsmanship still suffers from the same "ignominy" they spoke of in 1775, or are we in time to reclaim the artisan as the true guardian of matter?
​
Hi everyone. We are a mother-daughter team, and we share a mission that takes us constantly from our workshop to the archives of the National Library of Spain. As researchers and artisans, we find ourselves in the middle of a cultural rescue mission that goes far beyond simply "fixing furniture."
While analyzing treatises from 1775, such as the 'Discourse on the Popular Education of Artisans', we’ve confronted a painful truth that remains relevant today: for centuries, the mechanical and manual arts have been condemned to debasement and ignominy. The prologues of these ancient texts already denounced how this knowledge was devalued, dismissed as something "for the lower classes." They chose to forget that true craftsmanship is, in reality, a system of positive knowledge and invariable rules.
The Missing Link: Spanish Post-War Furniture (1940-1960)
Today, we are living through a second wave of that "ignominy." Many people look down on Spanish Post-War historicist furniture. They say it isn’t "heritage," that it’s just "old" or poor quality. However, we have discovered that it is the last refuge of the "fine hand" (master craftsmanship). These were artisans who, often unknowingly, were still working with the mineral logic of these 18th-century treatises: wood that must be allowed to breathe.
The Science We Are Throwing Away
In the documents we are sharing with you, you won't find "cooking recipes"; you will find applied mineral chemistry:
Living Matter: Stucco made of slaked lime and powdered marble which, when mixed with linseed oil, "expands day by day." This is not an inert layer; it is a structure that petrifies and consolidates with the wood.
Reaction Dyes: The use of quicklime, calcined alum, and Brazilwood. These are not surface stains; they are chemical reactions that transform the cellulose from within.
The Geology of Furniture: The study of Gypsum (calcium sulfate) and its exact firing temperatures to create eternal finishes.
Our Work: Dignifying History
Our mission is to bring back this lost knowledge through a contemporary adaptation. We don't rescue out of nostalgia; we research to elevate craftsmanship back to its rightful place. We want a piece of furniture from the 1950s to stop being seen as an ephemeral object and to be understood for what it truly is: a jewel of high chemical and technical composition.
I’d like to open a debate:
Why do we accept that "heritage" stops at the 19th century?
Isn't post-war furniture the last witness to a mineral wisdom that we are letting die under layers of industrial melamine and plastic?
Do you believe that craftsmanship still suffers from the same "ignominy" they spoke of in 1775, or are we in time to reclaim the artisan as the true guardian of matter?
​
Hi everyone.
We are a mother-daughter team, and we share a mission that takes us constantly from our workshop to the archives of the National Library of Spain. As researchers and artisans, we find ourselves in the middle of a cultural rescue mission that goes far beyond simply "fixing furniture."
While analyzing treatises from 1775, such as the 'Discourse on the Popular Education of Artisans', we’ve confronted a painful truth that remains relevant today: for centuries, the mechanical and manual arts have been condemned to debasement and ignominy. The prologues of these ancient texts already denounced how this knowledge was devalued, dismissed as something "for the lower classes." They chose to forget that true craftsmanship is, in reality, a system of positive knowledge and invariable rules.
The Missing Link: Spanish Post-War Furniture (1940-1960)
Today, we are living through a second wave of that "ignominy." Many people look down on Spanish Post-War historicist furniture. They say it isn’t "heritage," that it’s just "old" or poor quality. However, we have discovered that it is the last refuge of the "fine hand" (master craftsmanship). These were artisans who, often unknowingly, were still working with the mineral logic of these 18th-century treatises: wood that must be allowed to breathe.
The Science We Are Throwing Away
In the documents we are sharing with you, you won't find "cooking recipes"; you will find applied mineral chemistry:
Living Matter: Stucco made of slaked lime and powdered marble which, when mixed with linseed oil, "expands day by day." This is not an inert layer; it is a structure that petrifies and consolidates with the wood.
Reaction Dyes: The use of quicklime, calcined alum, and Brazilwood. These are not surface stains; they are chemical reactions that transform the cellulose from within.
The Geology of Furniture: The study of Gypsum (calcium sulfate) and its exact firing temperatures to create eternal finishes.
Our Work: Dignifying History
Our mission is to bring back this lost knowledge through a contemporary adaptation. We don't rescue out of nostalgia; we research to elevate craftsmanship back to its rightful place. We want a piece of furniture from the 1950s to stop being seen as an ephemeral object and to be understood for what it truly is: a jewel of high chemical and technical composition.
I’d like to open a debate:
Why do we accept that "heritage" stops at the 19th century? Isn't post-war furniture the last witness to a mineral wisdom that we are letting die under layers of industrial melamine and plastic?
Do you believe that craftsmanship still suffers from the same "ignominy" they spoke of in 1775, or are we in time to reclaim the artisan as the true guardian of matter?
Hola a todos. He estado dándole vueltas a cómo valoramos la artesanía y he creado esta infografía para compartir mi visión personal sobre el tratamiento de muebles históricos. Me encantaría conocer vuestra opinión. Por un lado, tenemos lo que llamo "Decoración Efímera" (Path A a la izquierda): la vía rápida de la pintura industrial y pátinas de efecto antiguo. Es la solución para un "bonito" a corto plazo (2-5 años). Pero lo que pasa es que asfixia la madera, no la deja respirar, y con el tiempo la pintura se descascara. El mueble personalizado, con tacto de plástico, termina en la basura. Es una solución efímera. Por otro lado, mi camino es la "Pieza de Autor" o, como me gusta decir, "Creamos Patrimonio" (el otro Path A a la derecha). Recupero la última herencia de los muebles hechos a mano, utilizando técnicas del siglo XVIII como la témpera española con cal de Morón y clara de huevo. No es un proceso rápido, y de hecho, asombra a la gente en TikTok por su lentitud. Pero la madera respira y se petrifica. Gana pátina con el tiempo, se consolida y dignifica. Se convierte en una joya que puede durar otros 200 años con un acabado auténtico, un tacto sedoso y mineral, y un brillo natural tenue. Su valor es inestimable y heritable. ¿Qué os va más? ¿La solución rápida y estética, o el legado artesanal que dura generaciones? Me gustaría debatir sobre el valor de la artesanía verdadera frente a la imitación industrial.
Hi everyone! Continuing with the evolution of my "Losa Marmórea" (High-composition stone). In my last post, you saw me polishing it with my own custom-made stone wheel—this isn't your typical stucco; it is pure, high-density stone. Today, I’m showing you the next step: preparing the mass to integrate the cracks. This is a "High Chamber" formula, recovered from the 18th-century Royal Hard Stone Factories of Charles III. It contains Carrara marble, calcined alum, white quartz, and "Blanco de España," mixed with "Cal de Morón" and other noble resins and natural ecological materials. It’s an ancestral, forgotten recipe that creates an authentic "Liquid Marble" that bonds to wood without the need for any industrial epoxy resins. The main difference? It breathes. Unlike modern plastics, this mineral alchemy doesn't suffocate the piece. It is a slow, high-end luxury cabinetry process that demands immense patience, but the result is a mineral masterpiece that will last for centuries. If you want to see how I recover these ancestral formulas step-by-step, feel free to join my group: r/MaestriaArtesana_S18. I’ll be revealing the final result very soon! Greetings from Spain!
We are a mother and daughter artisan team from Spain, and we are witnessing the mass disappearance of a unique heritage. Solid wood furniture from the 50s and 60s is being discarded simply because it's "outdated" or because people try to "update" it with paints that mimic an antique effect but are actually pure plastic resin. These synthetic layers wrap the organic wood in a plastic shell that doesn't let it breathe. Over time, the material degrades and these pieces inevitably end up in landfills or burned, polluting our environment. We decided to go back to the source with 18th-century Mineral Consolidation: The Secret of Alum: Historically, Calcined Alum was the essential natural fixative (mordant) that made colors in high-quality fabrics last for decades. Today, this process has almost vanished from the textile industry, and modern clothes ruin quickly because they lack this mineral protection. We rescue this knowledge to fix matter to wood fibers forever. Earth over Plastic: We work with raw, pure materials: Calcined Alum, Spanish White (calcium carbonate), and natural proteins like egg white. Mineral Petrification: These compounds don't just "cover" the furniture; they integrate into its fibers, allowing the piece to mineralize. This ensures the furniture isn't just another piece of waste, but a legacy that will last another 100 years. True sustainability isn't "paint and discard"; it’s using natural chemistry so that quality never needs to be replaced.
🏚️ The Foundation: The Humble Luxury of Small Workshops We are talking about pieces from 50 or 60 years ago, born in family-run workshops across Valencia, Alicante, Barcelona, and Castile. These were very small productions (only 50 or 100 pieces), where cabinetmakers with limited resources recreated the grandeur of Baroque, Rococo, or Neoclassical styles with exceptional dignity. Today, these pieces do not fit into modern industrialization. Their real value is denied, and they often end up suffocated under modern paints that try to "imitate" the antique look but are nothing more than liquid plastic. This is the last real heritage we have left before everything becomes soulless mass production. 🧪 The Alchemy: Formulas that aren't bought—they are CREATED We do not use industrial off-the-shelf products. We create the formula from scratch, rescuing 18th-century science: Mineral Consolidation: We reinforce the wood from the pore up using Calcined Alum, Spanish White (Blanco de España), among other natural minerals and charges. Historical Tempera (Not school-grade): we use natural proteins, egg white, Punic wax, and encaustic techniques. Noble Nutrition: We integrate Olive Oil (our Spanish Gold) and other strictly natural components so the material petrifies and breathes. 📦 Exclusive Kits: The Complete Experience Everything is handcrafted and domestic, from the mixing to the final packaging. We do not mass-produce; we prepare very few units of each kit. Numbered Batches: Each delivery is a limited and unique edition. The Method in Your Hands: Our kits are linked to detailed tutorials and real step-by-step guidance. We don’t just give you the materials; we guide you through the technique to achieve the museum-quality finish the piece deserves. 🔗 Access our exclusive kits and tutorials at: > legacypaintfurniture.com See every rescue in detail on our channel: Muebles al Rescate.
Dear community of Master Craftsmen, Many of you have asked me about the secret behind these finishes. Today, I want to share something that goes far beyond a simple pot of color. This is not paint; it is 18th-century Mineral Alchemy. I have officially launched the new Apprentice’s Cartelas in our shop. These are not just samples; they are the first step in mastering the transmutation of wood into mineral stone. What do you actually find in these numbered, limited batches? Pure Matter: Morón Lime and Alum, burnt in our own wood-fired kiln. No polymers, no plastics, no paraffins. The Master Support: A 'cartela' (handcrafted board) that serves as a map for your hands to understand how the natural chemistry of the Spanish Golden Age reacts and petrifies. Mastery at Home: Each batch includes exclusive access (via QR code) to our technical training, where I personally guide you through the process of dignifying furniture through carbonation and Punic wax. We are not 'covering' furniture. We are rescuing Spanish post-war structures to give them a Mineral Skin that breathes and ages with the nobility of a palace. If you are ready to move away from industrial products and embrace a Mineral Heritage, the latest batches are now available on our website
Dear community of Master Craftsmen, Many of you have asked me about the secret behind these finishes. Today, I want to share something that goes far beyond a simple pot of color. This is not paint; it is 18th-century Mineral Alchemy. I have officially launched the new Apprentice’s Cartelas in our shop. These are not just samples; they are the first step in mastering the transmutation of wood into mineral stone. What do you actually find in these numbered, limited batches? Pure Matter: Morón Lime and Alum, burnt in our own wood-fired kiln. No polymers, no plastics, no paraffins. The Master Support: A 'cartela' (handcrafted board) that serves as a map for your hands to understand how the natural chemistry of the Spanish Golden Age reacts and petrifies. Mastery at Home: Each batch includes exclusive access (via QR code) to our technical training, where I personally guide you through the process of dignifying furniture through carbonation and Punic wax. We are not 'covering' furniture. We are rescuing Spanish post-war structures to give them a Mineral Skin that breathes and ages with the nobility of a palace. If you are ready to move away from industrial products and embrace a Mineral Heritage, the latest batches are now available on our website.https://gustaviangold.com/products/cartelas-del-aprendiz-n%C2%BA-1
I loved the interest you showed in the finish of the drawer I posted a few days ago, so I wanted to share these few seconds of the process.
This isn't just about 'painting' a surface. It's about working with strata, pigments, Whiting (Blanco de España), Morón Lime, and potassium soap, among other authentic and historical mineral charges.
This footage is a small preview of how the material is worked in the workshop to let the wood breathe instead of being sealed.
I know the technical side of these materials can be tricky. Since it's impossible to go deep in such a short video, if you're curious or need to see the full step-by-step, feel free to ask and I'll show you where to find the technical breakdown
Hugs!!
I want to show the results of applying the techniques of the great Spanish Golden Age masters, such as Pacheco ('Velázquez's father-in-law') and Palomino, onto a post-war Spanish historicist commode. This piece, born from the tradition of small Spanish workshops with clear Nordic influences, has been worked using high-cabinetry techniques into a Rural Scandinavian Gustavian Style. The Mastery of 'Muñequilla' (No Brushes): This is an entirely handcrafted process, performed with the time and patience of old-world artisans. It is a slow, meditative practice—observing how the material evolves step by step through the hand. Everything has been worked by 'muñequilla' (a hand-padding technique), except for the fine plaster (stucco) base, which was applied by brush. The rest of the piece was worked with a core of raw wool or linen wrapped in fine linen cloth, soaked in the Historical Spanish Distemper. Through firm circular motions and manual pressure, the minerals are integrated deep into the wood grain, allowing it to breathe and petrify naturally. 18th-Century Mineral Alchemy: Historical Spanish Distemper: Hand-formulated using Morón Lime (UNESCO Cultural Heritage) and Spanish White (calcium carbonate). Ash Finish: The final finish of the entire piece has been achieved using washed ash. Added Details: The central diamond (lozenge) was added to the original piece following this same manual technique. Top Surface Treatment: The top surface has been treated with calcined alum. A Pure Historicist Philosophy: This process is completely free of plastics, acrylic resins, or modern chemicals. I use only the methods of the old masters, respecting the nobility of the wood and the health of the artisan. You can see the full Masterclass with the documented step-by-step process on my YouTube channel: 'Muebles al Rescate' (with English subtitles).
Greetings from Spain! I’m sharing the result of a deep investigation into ancient Spanish treatises from the Golden Age and the Court of Charles III. In this drawer, the material expresses itself without any mechanical sanding. It’s a complex stratification based on artisan natural lean and fat temperas combined with minerals, mainly Blanco de España and Cal de Morón, along with artisan calcined alum and potassium soap. The final touch is an encaustic emulsion to achieve this authentic historical 'muted' glow. Pure craftsmanship from the heart of Castile-La Mancha. What do you think of this texture?"
Greetings from Spain! I’m sharing the result of a deep investigation into ancient Spanish treatises from the Golden Age and the Court of Charles III. In this drawer, the material expresses itself without any mechanical sanding. It’s a complex stratification based on artisan natural lean and fat temperas combined with minerals, mainly Blanco de España and Cal de Morón, along with artisan calcined alum and potassium soap. The final touch is an encaustic emulsion to achieve this authentic historical 'muted' glow. Pure craftsmanship from the heart of Castile-La Mancha. What do you think of this texture?"
I found this 19th-century set at a flea market. It’s a large-format Table de Milieu and 6 musician-style chairs by Dubocs-Picard, a prestigious manufacturer from Lille (France) that worked exclusively for the industrial aristocracy and the high bourgeoisie. The Materials & Quality: Wood: A complex structure of Mahogany and other noble woods. The Detail: Iconic boxwood wheels (bois de buis), a signature of high-end French cabinetry. Upholstery: Original silk on the chairs (now in ruins). The Damage: It’s been "tortured" with thick modern varnish and terrible repairs. Someone used resin and paper glues to "fix" broken tenons, actually causing more structural damage. I’ve completely disassembled it to remove every trace of modern chemicals. I will be re-ebonizing and restoring the set using only traditional 18th-century techniques .If you want to see the step-by-step restoration of this French treasure, feel free to stop by my community: r/MaestriaArtesana_S18. I'll be sharing all the technical details there!
I found this 19th-century set at a flea market. It’s a large-format Table de Milieu and 6 musician-style chairs by Dubocs-Picard, a prestigious manufacturer from Lille (France) that worked exclusively for the industrial aristocracy and the high bourgeoisie. The Materials & Quality: Wood: A complex structure of Mahogany and other noble woods. The Detail: Iconic boxwood wheels (bois de buis), a signature of high-end French cabinetry. Upholstery: Original silk on the chairs (now in ruins). The Damage: It’s been "tortured" with thick modern varnish and terrible repairs. Someone used resin and paper glues to "fix" broken tenons, actually causing more structural damage. I’ve completely disassembled it to remove every trace of modern chemicals. I will be re-ebonizing and restoring the set using only traditional 18th-century techniques.
¡Hola a todos! Soy u/Worth-Spinach-568, parte del equipo de moderación fundador de r/MaestriaArtesana_S18. Este es nuestro nuevo espacio para todo lo relacionado con [AÑADE DE QUÉ VA TU SUBREDDIT AQUÍ]. ¡Estamos muy contentos de que te unas a nosotros!
Qué publicar Publica cualquier cosa que creas que podría resultar interesante, útil o inspiradora para la comunidad. No dudes en compartir tus opiniones, fotos o preguntas sobre [AÑADE EJEMPLOS DE QUÉ QUIERES QUE PUBLIQUEN EN LA COMUNIDAD].
Ambiente de la comunidad Nuestro objetivo es ser agradables, constructivos e inclusivos. Construyamos un espacio en el que todos nos sintamos cómodos compartiendo y conectando.
Cómo empezar
Gracias por formar parte de la primera ola. Hagamos entre todos que r/MaestriaArtesana_S18 sea increíble.
Welcome to my community. This space is dedicated to restoring the original techniques that once adorned the Royal Palaces of Spain and Europe. From my small workshop in Castilla-La Mancha, I work to ensure that historical materials regain the prestige they deserve. "18th-century purity restored by 21st-century hands." Here, you will find: 🎨 Pure Materials: Artisan batches of Spanish White (Blanco de España), Morón Lime (Cal de Morón), Burnt Alum, and Washed Ash. 🏺 Techniques: The art of authentic Tempera, Encaustics, and Stucco. 📺 Training: Step-by-step masterclasses on Muebles al Rescate.Thank you for supporting the traditional artisan craft!