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Sensorial and aesthetic care of wood
Pigments, dyes and additives: core materials in wood protection and finishing
Dyes are soluble organic substances and go through an application process which, at least temporarily, modifies the crystal structure.
Pigments are color particulate (e.g. inorganic solids) which usually are insoluble and are dispersed in vehicles for application. Pigments retain a crystal or particulate structure throughout the coloration process.
> PIGMENTS
Dyes are molecule containing «chromophores» and «auxcromes» two types of chemical groups. Chromophores interfere with the light generating the colour. Auxcromes make the dye soluble and able to react with the substrate giving the property of dyeing.
> DYES
The depth of penetration of solar radiation within the wood ranges from 30 mm for visible light to 600 mm for UV rays, and in the path, it meets different substances that interact with the radiation, which over time causes degradation.
> SUNCARE
An effective cleaning is necessary to achieve a professional maintenance of porous natural surface, in order to permit deep penetration of the restoring liquid.
> SURFACTANTS
Grey, stained and deteriorated vertical surfaces that don’t require abrasion resistance can be recovered in a very smart way. ANTIAGE can achieve a masking effect and great adhesion even on single surfaces avoiding heavy washing or sanding phases.
> ANTIAGE
The development of new materials and formulations involves different disciplines that, by integrating with each other, allows a holistic approach to problems and therefore a special solution to particular problems, All this is offered by nanotechnologies, a new approach to the chemistry of materials, with which to re-design current products and look for new ones.
> NANOSTRUCTURED ADDITIVES
Colouring, touching and tasting the wood
The value of a wooden object is determined not by the result, but by the starting point of the creative process. The sensorial and aesthetic finishing has the taste of discovery: the interest for materials and forms are not only functional, but it starts from an individual essential element.
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The symbolic value that we all give to colours is unconscious. The sensations that give us the “warm colours” and “cold colours” were born in the mists of time, before language, and have a universal value which is present in the collective unconscious.
Experience has an important constructive effect: it can create, strengthen or weaken synapses and nervous circuits, profoundly affecting the generation and regeneration of neural networks which, in turn, structure individuality, choices and tastes.
> BORMAWACHS CRUDE WOOD
Rediscovering nature as the origin of everything that surrounds us, including technological development, is the first step to recover lost space, diversity and the multiplicity of necessary stimuli to regenerate the senses, and consequently emotions and thoughts.
> BORMAWACHS ALCHEMY
No earthly force resembles man like the tree does: grown out of the earth and stretched out to heaven, every tree, like every man, is at least half “invisible”. We are “rooted” both aloft and beneath “the surface”, we move our branches upward into the ether, thus connecting the bright world of consciousness with the dark and underground one of the unconscious.
As the tree has his most vital part hidden in the bowels of the earth, man has in his secret living cave the source to draw on his power as well, the hidden fire that torments him and gives him life, his spiritual soul, invisible to the eyes.
Could this may be the reason why a consistent number of us still uses the term “essence” to classify the type of wood species?
> WOOD GRAIN
