Features of wood choice in mosaic
In the literal sense of the word, mosaic is basically anything that is streaked. But its meaning in this type of art is to put together colored pieces of wood and other materials such as ivory, oysters, metal, etc. so that the desired design is achieved. The mosaic is actually the line next to the line. The historical origin of this art is not clear, but from its adaptation to the art of tiling, we undoubtedly understand the relationship between these two arts. The desired is formed.To choose the wood for mosaic work, you should pay attention to a series of features:
Color: The brightness and variety of colors in wood is a very important factor when choosing, and the fact that the variety of wood colors is purely natural is emphasized. Strength: In general, the strength of wood is provided by the density of lignin material in the wall of wood cells. Therefore, the denser the fibers of the wood and the thicker their wall, the stronger the wood, and due to this density, the variable properties of this type of wood are higher. This is because the varnish does not penetrate through the wood fibers and is completely placed on its surface, and as a result, after drying, it reflects a more transparent surface.
Dryness of wood: One of the important factors in choosing wood is its dryness. Whenever wood loses all the water in its tissues and its moisture is equal to the humidity of the air, it is called “dried wood”. This title does not mean that it does not have the ability to absorb and return moisture and is completely dry. If the wood is dried in a humid climate and then placed in a dry climate, it will crack, and if it is turned upside down, the wood will warp and tilt. Considering the above explanations, if a role is obtained from wet wood, it will have a smaller volume after drying, and in addition to the possibility of cracking, it will be smaller than its intended location, thus making the overall composition of the design heterogeneous.
Wood health: It has been seen in some cases that Iranian artisans use rotten and stained fungal wood, known as “lost wood”, due to ignorance or lack of access to healthy wood. This wrongdoing not only reduces the resistance of the product, but also reduces the value of the object due to the presence of unpleasant stains on the wood. Especially if wood is used in mosaic art, it reduces its artistic value. Because wood is a natural product and is made from a combination of organic materials, it is always exposed to a variety of destructive factors, including bacteria, viruses and fungi. Usually two groups of fungi attack wood in intermittent wet conditions. There are a number of wood-painting fungi that insert their mycelium (rootstock) into the cavity inside the cells and feed on the food inside the cells. This group usually does not damage the wood structure, only changes its color and creates unpleasant stains on it, which is known as “wood loss”. The other group is called wood-covering fungi, which immerse their mycelium in the cell wall and break down cellulose and lignin in the cell wall, completely destroying the wood structure. Trees with this type of fungus lose their strength and ability completely and become completely worthless.
Possibility of sawing: Today, there are delicate saws that can cut the hardest woods and intertwined knots into very thin sheets. However, it is noteworthy that woods with medium hardness show better sawing capacity, while softwoods decompose under sawdust, and hardwoods have many problems when cut. Grateability: The more homogeneous and straighter the woods, the better the ability to be grated. Knotted and tangled wood cannot be easily grated and must first be prepared with saw blades and then sanded with parchment paper and so on. Among the woods of Iran, few have excellent grating ability, including maple, alder, beech, damp, poplar, etc.
Oysters and ivory: Oysters come in a variety of sizes and diameters, and have a fish-like composition that is first cut in half to use for work, and then skinned by an electric traction wheel with a blue tube attached to it. They polish to a diameter of about 3 or 4 millimeters. Oysters are brought to Iran more from Dubai. Ivory, or elephant teeth, are converted into irregular sheets 3 or 4 millimeters in diameter in the factory and then used. Ivory is imported from India.
Adhesive and its application: Instant adhesive is a beige adhesive that dries quickly and is often used to attach the design to a three-layer board. This adhesive is used to attach the coating to the edges of the object and also to attach the sandpaper to the electric sanding wheel plate. Cold serum is a thick, white adhesive that can be diluted with water. Hamra Powder is a brown powder that is mixed with my serum to form a thick liquid that is used to cover the grooves next to the patterns.
Protective and Refreshing Ingredients: Polyester is a clear plastic material diluted with a mixture of instant thinner and two drying and hardening solutions, each mixed to the size of a teaspoon, to a syrup-like concentration. Find jam. It should be noted that if the ratio of the last two materials is not the same, the polyester will crack after drying. The killer is a thin, transparent material and is used instead of polyester in cases where the mosaic is of lower quality.
Black dough: It is a black dough that is mixed with polyester and used in the context of mosaic when foil wood is not available. According to the experiments performed in the laboratory of Amirkabir University of Technology (Tehran Polytechnic), by ordering the General Directorate of Traditional Arts on February 5, 1984, the formula of the dough used is as follows: Unsaturated polyester (Un- saturated polyestero Resin) is associated with 33% by weight of styrene and other materials such as silica and carbon black and plasticizer and minerals such as calcium carbonate or titanium oxide.