Kintsugi
Materials and tools for the technique of kintsugi "keshi-fun"
-KIURUSHI - RAW LACQUER *
-Kiurushi (basic lacquer) is the sap of the Rhus vernicifera, known as the "lacquer tree", present in the Far East and South-East Asia. Flowing from the incisions made in the bark, the raw lacquer is a viscous greyish-white juice. It is only after a series of operations (filtering, homogenization and dehydration) that it becomes transparent and can be tinted in multiple colors.
Discover the kintsugi kit.
-L'urushiol contained in raw lacquer contains an enzyme called Laccase which is the catalyst for transforming the lacquer into a natural polymer, which combines with the oxygen in the moist and warm air of a drying box called Muro. If the temperature is too high, the lacquer "dies" and it will not harden.
-Attention : * kiurushi contains approximately 30% water and 60%urushiol, it is this active ingredient that is responsible for the skin reaction on some people, proper handling (gloves, long sleeved shirt and mask) and working in a well ventilated area will usually prevent an allergic reaction. The kiurushi is a lacquer 100% natural and contains no toxic chemical additives.
KURO ROIRO URUSHI - BLACK LACQUER
- The black lacquer is used in Kintsugi as an intermediate lacquer to give a smooth finish after your mugi urushi and sabi urushi work.
Without this middle coat of black lacquer, it will be very difficult for you to achieve a smooth enough finish to successfully apply a top coat of red lacquer and then your choice of metallic powder.
URUSHI (BENGARA)- RED LACQUER
- The bengara red lacquer is a more refined lacquer than the basic kiurushi lacquer. It contains about 75% urushiol compared to the base lacquer, its water content is about 15%.
Bengara urushi owes its color shade to the main ingredient iron oxide pigment which varies in color depending on the fineness of the pigments ranging from light to dark.
In the kintsugi keshifun process, bengara red lacquer is the lacquer for the finishing work when you lay down your metallic powder.
JINOKO from Kyoto (or Yamashita) and the jinoko from Wajima
- Jinoko earth is basically composed of a base of silicon dioxide containing fossilized diatom pods and it is kiln-fired after extraction, drying and then grinding. Jinoko is used for the first so-called Sabi urushi reconstructions composed of Jinoko, water, Kiurushi mixture used after the so-called mixture mugi urushi made of flour, water and kiurushi lacquer.
Wajima jinoko is thinner called yonhenji (grade 4) for a very smooth finish.
TONOKO
- Tonoko is a finer clay limited and consists mainly of aluminum silicate, it is not fired unlike Jinoko clay. Micro elements influence the color of tonoko which can vary from white (shiro tonoko) to red (aka tonoko). The Tonoko is operated around Kyoto.
Tonoko clay is an essential component for the primer in techniques sabi urushi filling and coverage. The primer sabi urushi composed of tonoko, water and kiurushi lacquer, creates a buffer for the movements of the support and allows the optimal bonding with the following layers of lacquers such as black and red lacquer.
Tonoko powder is used in the polishing process of Abura tonoko calibrated metals.
BOX / CABINET MURO
- The "Muro (room)" sometimes called Furo (bath) is a device whose space is hermetically sealed so that no dust can pass through. The temperature and humidity are constantly controlled in order to allow optimal drying.
Drying (depending on the size of the part to be dried 3, 7, 15 days) is a very important step, it is carried out in a drying box called wall, hot and humid (≥ 75% humidity with heat ≥ 30°), and whose hygrometry must be constant, indeed, it is the particularity of the urushi lacquer which cannot harden than in a humid environment!
The drying must be complete to guarantee the quality and the solidity of the lacquer.
BRUSHES FOR KINTSUGI
- They are available in different designs and styles depending on the length of the bristles, the thickness and the flexibility of the brush.
There are several types of brushes for kintsugi. For most lines a medium brush is sufficient, for the finest lines a fine or very fine brush will be required.
The brushes are always moved from top to bottom, vertically
All are made of natural fibers and handmade in Japan. They should be cleaned with turpentine and preserved with a very thin layer of vegetable oil which should be removed before use.
GOLD POWDER
-Brass powder is an easy-to-use metal. The brass powder I use is extremely fine for gold keshifun. Since it is so thin, it applies easily and is ideal for learning the practice of kintsugi "Keshifun" without it being too expensive for beginners.
TOOLS FOR GOLDEN POWDER APPLICATION
- Ashirai-kebo is a special brush with soft horsehair bristles to gently dust powder of gold, silver, brass, copper, aluminum ... as well as to remove excess of powder.
- Funzutsu small aluminum or bamboo tube, the end of which has been beveled, it is delicately filled with a little powder which is dispersed on the fresh lacquer when the lacquered gently taps the tube above the lacquer to be covered.
