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The lacquer used in Vietnamese lacquerware is based on the material of the lacquer shrub - Rhus Succedanea. The plants grow mostly in the North Vietnamese region of Phu Tho. Lacquer produced from plants expanded here, is of a professional to that based on plants expanded elsewhere. When first produced, the lacquer is white-colored and milky in appearance. However, it quickly turns brown in the air and progressively becomes black as it gets dry. Once solidified, the lacquer forms a bright, durable area that is resistant to wetness, bugs, and oxidization. Due to this, lacquer is ideal for protecting materials, such as timber and bamboo bedding, from which lacquerware is manufactured. From this primary, organic lacquer, the artisans will mix it with nutrient pigmentation to produce other types of lacquer. The various types of lacquer can be described as: cockroach-coloured lacquer, lacquer for sticking mother-of-pearl and acrylic and lacquer for artwork on clear, glossy levels. The Process The development of Vietnamese lacquerware items is extremely labor intense and time-consuming work. Every product (whether large and complicated, or little and simple) usually goes through 20 levels, spread across approximately two months. Broadly speaking, there are four primary types of lacquerware: Mother-of-pearl, acrylic, steel aluminum foil and colored. Some items may merge any of these primary types. The procedure starts with the selection of a suitable timber from which to model the primary form. Various types of timber are preferred for different products: increased, cherry or maple timber for furnishings, displays or jewelry bins, dark for statues; port fruit timber or bamboo bedding for bins, containers, clothing and plyboard or MDF for containers, artwork and bins. The timber is first handled with a slim part of lacquer that seeps through it. This makes it both harder and resistant to timber eating bugs. Next, the raw lacquerware is protected with a item of gauze. This is to prevent any breaks or disturbances in its form showing later in the procedure. Once the gauze part is dry, the product gets five more levels of lacquer to cover up the gauze and become thick the item. In between each part of lacquer being used, the artisans will sleek the dry item, massaging it down in the water. This procedure will be recurring many times (often between 15 to 20 levels of lacquer may be applied) until the outer lining area of the lacquerware accomplishes a glass-like designs. Eggshell Lacquerware Duck acrylic can be used to the outer lining area of lacquerware items to form eye-catching and eye-catching styles. The spend comes from born egg as they have the thickest and whitest seashells. Duck acrylic is naturally white-colored and that is why it is preferred for this procedure. The next phase includes the artisan coloring the acrylic, using a mix of nutrient pigmentation blended with substance colors. The product is consequently protected with many levels of lacquer and again used in the water between each part. Finally, the product goes through the improving level where the lacquerware is used down with powder grape husk. This gives the product the amazing shine for which Vietnamese lacquerware is so appropriately famous. Metal Foil Lacquerware A fairly recent advancement, artwork on a part of steel aluminum foil allows the specialist to accomplish dazzlingly vibrant completes unidentified to previous years. The technique is similar to that of working with acrylic. A part of gold aluminum foil is included to the product, in much the same way as gold aluminum foil is used to cover furnishings. The next phase includes the artisan coloring the aluminum foil, using a mix of nutrient pigmentation blended with substance colors. Most designs are obtained using covers through which the specialist is applicable color. The product is consequently protected with many levels of lacquer and again used in the water between each part to ensure its designs. Next the product goes through the improving level. Here the lacquerware is used down with fine abrasives. This gives the product the amazing shine that completes the production procedure. Painted Lacquerware The specialist shows directly onto the handled timber, using nutrient pigmentation blended with lacquer. As with acrylic and mother-of-pearl lacquerware, colored lacquerware will be protected with many levels of lacquer and used in the water until it becomes totally sleek. Mother-of-Pearl Inlay Harvested from the sea, the mother-of-pearl is carefully cut into different forms with a width of about 2mm. The specialist starts by illustrating the style on the outer lining area of the mother-of-pearl and uses a dealing saw to cut them into little items. These items are then stuck on the lacquerware. Once set in place, the mother-of-pearl style is higher than the outer lining area of the timber. To accomplish a consistently sleek area, the specialist then is applicable an assortment of organic lacquer and plaster, building up the outer lining area around the mother-of-pearl part by part, until it gets to the same level. Details in the style such as the eyes or the nasal area of a person or animal can now be included. The specialist carves in these information, making the style more vibrant and eye-catching. Again, more levels of lacquer must be included. Each part is used down in the water once it gets dry. And lastly, the product is refined to a higher shine and outstanding designs. Lacquerware Polishing Polishing performs an important part in the Vietnamese lacquerware development procedure. The lacquerware, after being continuously used in the water, is sleek but not shiny! To accomplish a glossy finish, the artisans will basically use the hand of their hand, together with abrasives to enhance the lacquerware to sparkling excellence. The abrasives used range from grilling and iron oxide to powder grape husk.