Fornasari mosaici works with the classic materials of the mosaic tradition, such as enamels, golds and natural stones.

The vitreous enamels for mosaics are opaque glass, they are produced in infinite shades of color, pressed into plates, generally round, to be then subsequently cut with a glass cutter and hammer to generate the required shape. Products already in Roman times, generally used as a wall covering, they are particularly suitable for outdoor use. There are also in transparent version, but the chromatic range is decidedly more limited.

Golds are the finest materials and consequently the most expensive. They are obtained from the fusion of two layers of glass between which the gold leaf is set. They exist in dozens of shades and based on the support glass you can have both those with a smooth surface and those with a wavy surface.

Finally, natural stones, generally used as a floor covering, are limestone rocks of sedimentary or metamorphic origin. The cube format, a classic of the mosaic tradition, originates from the cutting of marble tiles to obtain rods, which are then cut by hand on the other sides to obtain irregular cubes.

The main mosaic processing techniques are the reverse on paper and the direct one on fiberglass mesh or other support.

The first is used when the materials have non-constant thicknesses, generally the glazes, which are glued with a water-soluble glue on mosaic paper. Subsequently, the back of the segments are grouted with cement, and then everything is placed on a surface on which tile glue has been spread. The segments thus glued are then beaten, the paper is moistened and then removed. After various cleaning phases with brush and sponge, the final surface can be admired.

Instead the second, the direct technique on fiberglass mesh, is generally used when the materials have homogeneous thicknesses, this is often the case with natural stones. The cubes are glued with a vinyl glue on the mesh, and then placed with tile glue on the desired surface. Finally, we proceed with grouting.

Fornasari mosaici uses both techniques, preferring the reverse on paper, believing that it gives a more refined result.