The creativeness and the fancy are born on a white sheet of paper, and the project of the ended work, until that moment closed inside artisan’s mind, appears with light lines of pencil. Sketches can be created both to freehand for landscapes, allegorical figures, still life or lacy decorations and also with sketch tools for geometric figures or compass rose.
After drawings’identification, the following step is the choice of woods. Veneerings (thin wood sheets) are used for the inlay. They can have natural or artificial colors. The good artisan has to choose from different colors of wood, the best combinations to create shades, depth, details of colors and finally he has to get perspective illusions and effects of tones.
After colors’ identification , veneerings are strengthened by an adhesive paper that prevents the wood to crumble during cutting and above all during the phase of the cut against vein. Finally with a precision machine, they cut colored veneerings like they want.
To create the inlay following the technique called “foro e controforo”, the artisan positions veneerings (previously prepared with adhesive paper and finally cut) and he locks them in two wood pieces. To cut without too much effort the pieces of wood must be very thin. Finally the drawing is placed on the higher side and it’s fixed by small niles…
La pila di impiallacciature, come detto, è stata composta in maniera tale da tenere il disegno nella parte superiore. Nell’intarsio ogni singolo pezzo va minuziosamente ritagliato, ma per raggiungere tutti i particolari del disegno senza fare dei tagli trasversali, è necessario prima fare dei buchi nelle impiallacciature dove dovrà inserirsi il seghetto per l’ intaglio. Conl’ausilio di un trapano, oggi…
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