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The VVG  Collection Lacquer Manufacturing Copyright (c) 1998-2008 V V G. All rights reserved.   Updated March 25, 2008

Verification & Validation Griffins

The history of lacquer is 6,000 to 7,000 years old and was first made in China.

Millennia ago, artists learned how to harvest the juices coming from a tree of the sumac family that is common to parts of Southeast Asia. Those artist learned how to convert the oleo-resins into a slow drying, natural lacquer which was first and is still used to protect delicate paintings and works of art.  Layering the lacquer came later, where early bowls were made in simple reds and blacks. Still later, carving, inlaying, and painting the lacquer was perfected.  Today's lustrous products are at the pinnacle of the art world and are a far cry from just coverings for other fine arts.

The factories we source from use hard and soft woods, fiberglass, MDF (Medium Density Fiberboard), and papier-mâché (paper mache) as the support for lacquer, both colored and inlayed.

Large objects that will be subjected to noticeable climate changes (humidity and/or temperature), fiberglass and MDF are the preferred supports both to keep the weight down and durability, as these substances will not bend, move, or warp as can the others.

To keep costs reasonable and the product base strong, MDF is used for flat, larger objects such as table tops, chair backs, and large panels or screens.  Fiberglass is most often used in modern furniture designs that must first be molded and shaped by hand.

The process of lacquering is a lengthy one of layering, drying, hand-rubbing, and then layering all over again. The process is month's long and as many as 25 layers are applied. The products here have from 12 to 16 layers, and the process is as follows:

Layer 1. The under support is fully dried, sanded, and prepared first with a special, natural glue before the first undercoat of black lacquer is applied. 

Layers 2-3. When fully dried (a matter of 3-5 days in natural warm air and never direct sunlight), a 2nd layer is applied of a special condensed lacquer paint. At the same time, a special close weave netting (that looks like but is not cheese cloth or mosquito netting) is applied as a 3rd layer that sets into and dries with the condensed paint.

Layers 4-9. Using a special trowel, the under support is then plastered with six (6) coats of a special condensed mixture of rock powder and black lacquer paint.  Each coat is allowed to air dry for 3  to 5 full days.  No artificial drying is ever used. After each coat is dry, the entire under support is hand rubbed with a special sand paper made in part from the cartilaginous material of squid.

When the last coat is fully dry, the entire under support (board, chair leg, table top, etc.) is then wet-ground. This consists of hand rubbing under constantly sprayed water. The same special sand paper is used. After several days of this process, the entire surface becomes smooth and starts to shine.

Layers gold or sliver are often used. When gold or silver highlights are needed or just wanted (as in the finer Thai screens), a gold or silver foil is hand rubbed many times over the black-covered under supports until the the under supports appear to be solid gold or silver.  Depending on the size of the final object, this can be a many weeks-long process. This time consuming process insures a firm bond between the foil and under support that will not work loose.

To create the design, whether of paint alone or with inlays of Mother of Pearl and/or egg shell, a to-scale, full size drawing is made. This is used as a template from which an exact copy of the design is hand drawn onto the under support using both pencil and chalk.

Inlays - When inlays are used (mother of pearl or egg shell), a sketch of the design is made on the hard, smooth surface, and a special glue is applied over the sketch. Square millimeters at a time, first the glue and then the inlay is applied.  When furniture is being entirely inlaid with egg shell, the entire surface is covered a few square inches at a time with the glue and then egg shells.

Each inlay material is first sawed or cut to the specific shape used in each design as it is pieced and glued to the under support. There is no rushing this or any of the many other lacquer processing steps.

Paint - Designs are painted on by the steady hand of master artists, who do not use a magnifying glass but do hold needle thin brushes to obtain the exacting detail.

Layers 10-12.  After the inlay material and paint is fully applied, three additional coats of special black lacquer is applied. Each layer must air dry for at least three days before being carefully hand rubbed in flowing water. This process allows the inlay materials to be seen in their natural colors, and the board surface to shine as if it is a mirror.

Layers 13-16. After painting and over lacquering is completed, three coats of clear finish is applied. As before, each coat is allowed to dry before the entire lacquered object is hand rubbed in flowing water. This keeps the lacquer panel hard, with lasting color and lasting shine.

The result is a magnificent hand-crafted object of beauty, both of design and function, that with proper care will last generations.

These are hand-crafted object of beauty, Mother of Pearl and egg shell inlay, crackle glaze or smooth, simple or complex designs. Each will have an expected and normal variation from others as they are not molded plastic but true lacquer ware following a many millennia old process that has not materially changed in all that time.

Write to us to place an order.

The range of Southeast Asian handicrafts that we work with include

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