Learn.3.1.Fabrication Process

1. Matching the wood mosaic inlays: locally known
(Talbiq Al Ta'teem)

Once the design phase is completed, phase two begins and the artisan starts on the stage of matching the mosaic inlays to the shape of the wooden skeleton. During this stage, artisans try to use mosaic inlays that they have in stock from previous projects, hence the name (matching of inlays) and in the local language (Talbiq Al Ta’teem).

2. The Mould: locally known as ‘Ammayah’ أُماية

The mould is a bundle of wood sticks that is 300 mm long. The ‘mould’ is sawn into thin layers of (1-2 mm) in thickness, thus, each mould can produce up to one hundred and sixty layers of Damascene Wood-Mosaic veneers. However, artisans fabricate several moulds as these can be used for later jobs. See Figure.

3. Gluing the Mould

For gluing the mould, a double boiler glue pot is used. This pot is usually made of cast iron and is always kept warm for use. The used glue is animal glue also known as ‘Hide glue’ and known locally as ‘red glue’. This glue is mixed with room-temperature water and kept for 8 to 12 hours before usage. The volume mixing ratio is (3:1 to 4:1) (Water to glue volume). The assembled mould then gets dipped into the warm glue ensuring that all sides of the wooden sticks are covered fully in glue.

4. Glue Curing

The assembled and glued mould is then tied from both ends and kept for (24-48) hours for the glue to dry depending on the surrounding temperature and humidity. See Figure.

5. Slicing the Mould

Once the glue is dry, the outer surface of the mould needs sanding to remove the hardened glue and smooth the surface, using a disk sander. The mould is now ready to be sawn, using a band saw machine. The produced thin wooden slices are (1-2 mm) thick only and the 300mm long mould produces (150-180) slices or veneers of the DWM. See Figure

6. Veneer Trimming: locally known as ‘Ta’reed’

Once the veneer of the DWM is produced, the stage of ‘trimming’ begins. During this stage, the sliced veneers are trimmed,using a metal blade and a small hammer, to remove the surplus wood from the edges. Then different pieces of the trimmed veneers are placed next to each other, in order to temporarily bind them together, using transparent tape. See Figure

7. Decorative Borders: locally known as ‘Darb Snan’

Once the trimming is completed,different pieces of trimmed veneers are placed next to each. Subsequently, a border that looks like a coloured stripe of wooden teeth is placed around the trimmed veneers, to separate decorative veneers into different groups. The borders are arranged and placed on top of each other and then cut, using a metal blade to achieve a perfect joint. Next, a transparent tape is used to temporarily bind together the stripes. At this stage, there would be a gap between the produced decorative veneer and the decorative border, thus a separate wooden veneer is placed below the assembled decorative shape. This is now traced over with a pencil, to determine the cutting shape, and also to mark the shape and location of the mother-of-pearl inlay. This separate wooden veneer is then cut,using a metal blade and a small hammer as per the marking. The decorative wooden mosaic veneers are taped together in their final arrangement, before getting glued to the desired solid surface.

8. Manual Pressing of the Veneer

A layer of red or white glue is applied to the solid surface (the top board of the jewellery box), before placing the wooden mosaic veneers on top of it. A plastic sheet, with a foam layer and MDF on top of it, is used to apply pressure over the mosaic veneer while the glue dries, using a bar clamp. See Figure.

9. Mother-of-Pearl Inlay

A few millimetres’ deep recess is carved into the solid surface that has the decorative wooden mosaic veneer on top, to allow the mother-of-pearl inlay to be inserted and glued. The mother-of-pearl inlays are cut to size and polished, using a double-ended grinding machine. Mother-of-pearl inlays are glued, using white glue, and placed in the recess created in the previous step. See Figure

10. Surface Flattening: Locally Known as ‘Alfatah’

The process of flattening the surface of the wooden mosaic veneer begins where repetitive filling and sanding takes place, until all gaps between different inlays are concealed and a smooth surface is achieved. However, gaps between different inlays should not exceed 1mm at the time of assembly. See Figure

11. Joints and Gaps Filling

The filler is made of walnut sawdust,mixed with red natural glue. A metal scraper is used to apply the filler evenly to the surface. After drying, the surface is sanded to achieve an even surface and to remove excess filler. See Figure

12. Shellac Polishing: locally known as ‘Bardach’

This is the final stage of thefabrication phase. Upon completing the flattening stage, the stage of polishingbegins by cleaning the surface of the wooden mosaic veneer with a cotton clothand white wood oil. Sanding begins with grit 180 sanding paper wrapped around ablock of solid wood for easier handling. The craftsman gradually increases thegrit number (the higher the grit number, the finer the abrasion) until itreaches grit 400. Sanding papers of various grits are used to sand the surfaceafter the mother of pearl has been glued in place, to ensure that the woodenveneers and the mother of pearl are on the same level.

Oiling: Following the completion of the joint and gaps filling stage, the surface of the wooden mosaic veneer is oiled. After sanding, a cotton pad is used to oil the surface to bring up the hue of the wooden mosaic veneers.

‍Shellac: Locally known as ‘Kamalica’. Shellac comes in the form of solid flakes that must be dissolved in alcohol for 24 hours before use. Once ready, the first coat of shellac (also known as the base coat) is applied to the surface, with the craftsman moving his hand in a circular motion over the wooden surface with a polishing cloth filled with cotton, to evenly distribute the shellac. The base coat is allowed to dry for two hours before the process is repeated, this time with the saturation coat, which is also allowed to dry for two hours. The third and final shellac coat is applied in the same manner, but is allowed to dry for 24 hours. Despite the fact that the shellac is applied in three separate coats, the final result appears to be a single transparent layer with semi-reflective properties. See Figure

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DWM

module 3

Fabrication

Brief Overview

Applying the Design on the framework

Fabrication Process Step 1 to 12

Fabrication ProcessStep 13 to 21

Fabrication ProcessStep 22 to 28

Fabrication Process Step 29 to 32

Fabrication ProcessStep 33 to 37

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