Liquid painting
From the clear coat that protects a burnished surface to a marble effect drawn by hand: the liquid paint cycle closes almost every finish in the range.
Verniciatura a liquido
Liquid painting has two different roles in this cycle. The first is protective: it is the clear coat that stops an oxidation and preserves it over time, and that on a clear or satin finish is the only layer between the metal and the air. The second is decorative: it is the technique used to build marble effects and textured finishes, where the colour does not come from the metal but is drawn on top of it.
In both cases the result is decided in the preparation. The surface has to be clean, degreased and even: any residue becomes a visible defect, and under a clear coat there is nothing to conceal it. Where needed, a primer is applied to even out absorption and give adhesion; the choice of primer changes with the metal and with the intended appearance.
Marble effects are hand work in several stages. The ground is laid, the veins are drawn with a fine brush or a sponge, the contrasts are adjusted, and a clear coat fixes the drawing and sets the gloss level. Every piece is drawn individually: on surfaces that meet, continuity and direction of the veining have to be agreed in advance, because they are a design decision and not an execution detail.
Gloss level has to be stated explicitly. Matt, satin and gloss change the perception of the same colour radically: a matt black absorbs light and flattens volume, the same black in gloss returns every reflection in the room and shows every ripple in the sheet. Neither is better in absolute terms; what matters is which one suits the piece and the place it will stand in.
Before delivery the surface is inspected in raking light, which is how defects actually reveal themselves: from there the piece goes to assembly or straight to packing, where the first rule is not to touch it more than necessary.
