How to make Korean lacquer - Najeon Chilgi & Ottchil #1
This video documents a beginner's first month of training in Korean najeonchilgi (mother-of-pearl lacquerware), focusing on the foundational skills of shell cutting and ground preparation. It is useful for understanding the physical labor and specific techniques involved in preparing jagae (shell) and applying the initial sabi (ground) layers before actual lacquering begins.
A walkthrough written from 옻칠나전공방 휘호 / HwihoCraft’s video ↗.
The recording is the authoritative demonstration; this page is a working guide to it.
Raw ki-urushi causes serious delayed skin reactions; proper protective measures are required when handling it.
Read Safety First before working with raw urushi.
Tools shown
saw— Used to cut jagae pieces; requires manual sharpening
work knife— Used for cutting small shell pieces; must be sharpened by the maker
sanding block— Used to flatten the MDF board and edges
Materials
jagae— Mother-of-pearl shell, pre-cut into squares and triangles, backed with paper
ajiao— Animal glue used as an adhesive for the ground mixture
hofun— Oyster shell powder mixed with ajiao to create the sabi ground
ki-urushi— Raw unrefined lacquer, thinned for the first coat
MDF board— The substrate used for practice, requiring edge blocking
Conditions
cure time — 1 day for the first ki-urushi coat in the chichang
notes — The chichang is a humidity-controlled curing room.
The method
Section by section.
Each heading links back to the moment in the source video where it begins.
The process begins with jagae (shell) pieces that have a paper backing. The maker soaks the pieces in water to loosen the paper, then peels it off individually. Once the backing is removed, the shell is cut into specific shapes, such as squares and triangles, using a saw. The video emphasizes that even small pieces are cut by hand, requiring the maker to sharpen their own saw and work knife. The pieces are then ground and fitted together, a process described as being done 'stitch by stitch' to ensure precision.
When it is rightShell pieces are cleanly cut into geometric shapes and fit together tightly without gaps.
When it goes wrongPoorly sharpened tools result in rough cuts or broken shell edges, requiring re-cutting.
The maker prepares a practice ground by mixing ajiao (animal glue) with hofun (oyster shell powder). This mixture is stirred vigorously until it reaches a workable consistency. The maker then practices spreading this mixture thinly onto a surface. The technique involves applying the paste and then scraping it off to achieve a flat surface. This cycle of applying and scraping is repeated to build skill in creating a uniform, flat ground layer, which is described as physically demanding for the forearms.
When it is rightA thin, even layer of ground is applied and scraped to a flat surface.
When it goes wrongUneven application or failure to scrape properly results in a lumpy or thick ground that is difficult to sand later.
Before applying lacquer, the MDF board substrate must be sanded. The maker notes that the side edges must be blocked and sanded first. The video highlights the repetitive nature of this task, noting that a single board has four edges and the practice set includes four boards, totaling sixteen edges to sand. The maker describes this stage as initially perceived as the hardest part, but later realized to be the easiest compared to subsequent steps. The goal is to create a perfectly flat surface for the lacquer.
When it is rightThe board surface and edges are smooth and flat, ready for lacquer application.
When it goes wrongInsufficient sanding leaves rough spots or uneven edges, which will show through the lacquer coats.
After sanding, the first step of ottchil (Korean lacquer work) is applying a thin coat of ki-urushi (raw lacquer). The maker emphasizes that the lacquer must be applied evenly to the entire object. This is described as the maker's first time applying lacquer in their life. After application, the piece is placed in a chichang (curing room) to dry for one day. The video notes that this stage marks the transition from preparation to actual lacquering, with the difficulty increasing from this point forward.
When it is rightA thin, even coat of lacquer covers the entire surface without drips or missed spots.
When it goes wrongUneven application or missed spots will result in an inconsistent finish and potential adhesion issues for subsequent coats.
Terminology in this video
자개jagae
The shell material itself used for inlay
나전칠기najeonchilgi
Mother-of-pearl lacquerware
錆sabi
Tonoko-and-lacquer putty ground
옻칠ottchil
Korean natural-lacquer work
生漆ki-urushi
Raw unrefined lacquer
Left open
What this video does not settle.
The specific type of saw used for cutting jagae is not identified.
The exact ratio of ajiao to hofun for the sabi ground is not provided.
The specific humidity and temperature settings of the chichang are not stated.