Colored epoxy resin flowers. Photo master class. We create a stained glass window with our own hands Stained glass earrings made of wire and epoxy resin

If you do not have enough funds to buy a real stained glass window, but you really want to have it at home, you can make it yourself.

The manufacturing technology is:

prepare a cardboard with a selected color pattern and ink contour lines. In accordance with the figure, cut (a conventional roller glass cutter will do) colored glass. Then put a sheet of transparent silicate glass on the cardboard and make a "dry" fitting set of stained glass. Lay out colored glass exactly according to the sketch. To connect the glasses to each other and the lower surface, you need to prepare a solution (1 part of cement, 3 parts of sand and 1 part of glue, such as PVA). It is prepared in a special container, a shampoo bottle is suitable, into the cork of which a glass or plastic tube with a diameter of 4-5 mm is inserted. Before pouring, thoroughly smear the edges of colored glass at the junction with silicate glass with a solution. After drying, make the main filling of the space between the pieces of colored glass. With this treatment, the solution does not leak under the colored glass and the stained glass window turns out to be neat. If you will use this stained-glass window as a decorative wall element, then in its upper corners, pre-lay steel wire with loops for hanging. Stained-glass windows for windows are made on glass taken out of the frame.

A real stained-glass window is made up of pieces of colored glass inserted into a metal frame. Previously, lead was used to make frames, but now stainless steel and aluminum are used. Such technologies, unfortunately, are quite complicated for home creativity. Therefore, we want to bring to your attention several more accessible techniques for the manufacture of pseudo stained glass.

techniques for making pseudo stained glass windows.

Before making any stained glass window, you need to develop a full-size color sketch. If you feel an artist in yourself, then, as they say, you have the cards in your hands. Otherwise, find a suitable ornament, refer to the classics, gradually move from simple to complex, and millions will admire the creations of your hands.

After developing the sketch, cover it with glass on which the stained glass will be made. It must be clean and fat free.

First method based on the use of soluble colored fabrics such as acetate silk, which dissolves easily with acetone and nitro varnishes. Cut out pieces of thin fabric of the required configuration and color according to the pattern of the future stained glass window. Cover the glass with a thin layer of transparent nitro varnish and dry. Then the same nitro-lacquer is applied to separate zones, and patches of the workpiece are glued to them. Gluing must be done as accurately as possible, since the fabric begins to dissolve almost immediately, and it will be impossible to move it. After gluing the flap to the place allotted for it, coat it with nitro-lacquer on top and proceed to the next one. After filling all the glass with stained glass elements, apply another layer of nitro-lacquer, and on top of a couple of layers of parquet.

The next step is to make a pseudo-frame. For this epoxy resin mixes up with a hardener in the ratio 1: 8~10. The resulting mass is mixed with talc and aluminum or bronze powder until the mixture acquires a metallic sheen and does not spread over the glass. Then the resulting mass is filled into a confectionery syringe or a used toothpaste tube and squeezed out along the outlines of the stained-glass window with an even roller. In this case, it is important to avoid intersections between the lines, since the rollers should not run into each other.
We recommend that you perform all actions with nitro-varnish in a well-ventilated area or in the open air, and with epoxy resin you need to work with rubber gloves. The solvent for epoxy is gasoline.

SECOND METHOD
Let's move on to the next, most famous, method of making pseudo stained glass windows. It's stained glass from broken glass and silicate glue. It is necessary to prepare colored glasses of the required size. A life-size sketch is prepared, attached to the glass on the back. Degrease the surface with ammonia and apply a contour drawing with a dark marker or paint. Cover glass with a layer silicate glue(liquid glass) and lay out a mosaic of colored glass fragments in accordance with the pattern. After 4-6 hours, the surface of the stained-glass window is poured with a continuous layer of glue so that it covers all the protruding fragments. To prevent the glue from dripping, you can install a temporary frame of wooden slats around the edges. In addition to silicate glue, they use epoxy or polyester resin.

THIRD WAY
Can be stained glass from whole colored glass according to the following technology. We prepare a sketch and attach it to the back of the transparent glass, as in previous cases. We cut out sections of the pattern of the required configuration from whole colored glasses. We make a "dry" set of stained glass on a transparent base glass. The space between the pieces of colored glass is filled with a solution of the following composition: cement - 1 part, sand - 3 parts, glue (PVA type) - 1 part. For convenience, during this operation, you can even take a plastic container from under the shampoo, into the cork of which a glass or plastic tube with a diameter of 4-5 mm is inserted. Before pouring, the edges of colored glass at the junction with silicate glass are carefully smeared with a solution using a wooden stick. After drying, the main filling is performed. With this treatment, the solution does not leak under the colored glass, and the stained-glass window turns out to be neat.

Sometimes it is very difficult to find glass of the right color. However, from any hopeless situation, you can always find two ways out. Colorless glass can be tinted zapon-lacquer . Used as a dyeaniline paints: yellow - auramine, rivanol; blue - methylene blue; green - brilliant green (can be purchased at a pharmacy); red - rhodamine. In order for the coating to be uniform, the surface of the glass is doused with varnish, allowing the excess to drain. If the glass is exposed to strong sunlight, it is better to use glyphthal lacquer to paint the glass. It is a solution of artificial resin (glyphthal) and aniline paint of one color or another in wine alcohol. If there is no tsapon or glyptal varnish, you can prepare an alcohol colored varnish of the following composition: 500 mlethyl (wine) alcohol, 1 g aniline paint, 1 g shellac.

FOURTH METHOD
Film. It's not that pretty, but it's simple. Take the finished stained glass film, cut out the details from it along the contour and stick it on the glass. The contour itself in the film stained-glass window is better to be made of square-section copper wire, which is planted on epoxy glue, this will give the product more decorative effect.

FIFTH WAY
Beads. Yes, yes, ordinary cheap Chinese beads, which are sold, for example, at VDNKh in whole packages. You will need about 1 kg, it is better to take a transparent, small one, you can substandard (this is quite a penny). The outline is done like this: epoxy resin mixed with a hardener in a ratio of 1:10 and diluted black carbon black powder(20 rubles per sachet). Fill the tube of hair dye with the composition, just make the hole wider, about 2 mm. Squeeze out the sausage along the contour and let dry. Lubricate the gaps silicate glue(liquid glass) and fill with beads of different colors. In a day, fill the entire surface of the stained-glass window with the same glue.

SIXTH METHOD

Broken glass. The technology is the same as in the previous paragraph, but instead of beads, take glass finely crushed with a hammer through a rag from bottles, vials, transparent dishes. There is only one drawback: the stained-glass window will turn out to be very thick, since it will have to be poured in 2-3 layers in order to completely cover the fragments.

SEVENTH
Whole pieces of glass. We cut out sections of the pattern of the required shape from whole colored glasses. We lay on the glass base "dry". The space between the pieces of colored glass is filled with a solution: cement + sand + PVA glue (1:3:1). Before pouring, the edges of colored glass can be smeared with silicate glue to prevent leakage of the putty. After drying, the entire stained-glass window is filled with polyester (epoxy) resin (the solvent for them is gasoline).

Note: glass coloring.

Clear glass can be stained with zaponlak. Aniline paints are also used as a dye: yellow - auramine, rivanol; blue - methylene blue; green - brilliant green (can be purchased at a pharmacy); red - rhodamine. In order for the coating to be uniform, the surface of the glass is doused with varnish, allowing the excess to drain. If the glass will be in the sun all the time, it is better to take glyphthalic varnish(a solution of artificial resin (glyphthal) and aniline dye in wine alcohol).

You can cook yourself alcohol colored la to:

500 ml of ethyl (wine) alcohol, 1 g of aniline paint, 1 g of shellac. 6. Glass from photographic plates. The technology is the same. Take photographic plates (sold in stores such as "Film Lover"), dip in sodium thiosulfate solution(fixer), which can be purchased at the same store. After that, rinse for at least 20 minutes in running water, paint with acrylic paints in the most saturated colors that you can think of, dry and gently beat into small pieces with a hammer. Lay on the glass base with the emulsion side down and fill with silicate (epoxy) glue.

EIGHTH
CDs. If you only look at the stained glass window from one side (for example, this is the glass of a cabinet), pieces of worn-out color CDs will suit you. With a heated knife (string), figures, flowers, stars can be cut out of them. Put on epoxy glue, cover the gaps with it (with a cotton swab, spatula), but do not fill it. The contour is best made from thin plastic linen cord bright colors.

NINTH
"Amber" mosaic. Very simple and beautiful. Mixing epoxy resin with hardener 1:8 and add a little acrylic (or aniline) paint in orange, yellow, gold colors. Using a tube of hair dye or a confectionery syringe, apply an abstract pattern on the glass with beautiful lines and drops, alternating all kinds of shades. Lines can overlap each other, look broken. The outline is not needed. It turns out very elegant.

TENTH

synthetic fabric. For example, acetate silk, it dissolves easily with acetone and nitro-varnishes. Cut out pieces of the desired shape and color. Cover the glass with a thin layer of transparent nitro varnish and dry. Then the same nitro-lacquer is applied to separate zones, shreds are placed on top and once again smeared with the composition. The tissue begins to dissolve almost immediately. When the drawing is finished, coat it with nitro varnish completely, and after drying, apply a simple parquet varnish.

Matting.

First, apply a contour to the glass with paint or a black marker. Those areas that are supposed to be made matte should be carefully glued around the edges with masking tape as evenly as possible. Now matting itself:

Method 1: Buy a special liquid or paste, such as Glassmoz. The substance is quite toxic, but it is easily washed out with water, and it lasts for a long time.

Method 2. Pour a little powder with emery properties onto the surface of the glass, for example, dry chisel, soda or fine river sand. Then take a piece of glass (a glass cork from a decanter is suitable) and rub it with cleanliness or sand over the surface to be treated. She blurs before her eyes.

Method 3. The easiest. Make a mixture of chalk powder with silicate glue, and then brush it twice on the glass. You can color it. After matting, remove the masking tape and wash the glass. You can alternate matte areas with white, black, gold, use different matte shades. Apply the contour with black oil paint. In any case, this stained-glass window will be the thinnest and most beautiful.

And here's another cool way.
Where I got it, I don't remember.

Take glass desired size and a sheet of white paper of the same size. On paper, you will choose a drawing in color. Lay out a piece of paper with the pattern facing up. Put glass on it. Degrease the glass surface thoroughly. Lay the contours of the drawing shoe laces(preferably black) and glue them epoxy glue. Now it remains to fill the gaps between the borders of the contours of the pattern with a colored adhesive mixture.

Preparation of colored adhesive composition made with epoxy. First, prepare the egyxide glue, then add the ballpoint pen paste of the desired color and tone to it. The adhesive color mixture will set in three to four hours, depending on the ambient temperature. And after twenty-four hours you can install the finished stained-glass window in the window. In bright sunlight, such a pietrazh looks great with laces.

Stained glass is a welcome addition to any interior. But professionally made stained-glass windows are expensive. Meanwhile, there are different types of stained glass techniques, and some allow you to make stained glass windows with your own hands. The simplest ones make it possible to make, for example, a stained-glass ceiling window, very similar to a real one, if you do not look closely. And according to more complex, but accessible to the DIYer, a work is obtained that even a specialist without disassembly cannot distinguish from a “real-life” one.

The main secret of technology

The manufacturing technology of any stained-glass window does not require deep knowledge. But you definitely need an accurate eye, a faithful and firm hand and the utmost accuracy. The smallest errors, accumulating as they are made, eventually give the product a not quite attractive, or even just a sloppy look. So the main conditions for success are skill, ingenuity, training. If after three trial compositions the size of a large book you get a good real one, you are a nugget.

About sketches and scissors

The basis of any stained-glass window is an element-by-element sketch. Sketches of stained-glass windows are always made in two copies. If they are made on a computer and printed out, there is no problem: the printouts are absolutely identical.

However, for a large panel, the sketch has to be drawn by hand and then copied on a blueprinting machine. Despite such a serious name, the simplest blueprint machine is just a sheet of glass (which will then fit on the base), laid on two chairs, and a light bulb under it.

To make a stained-glass window without errors, you need to firmly remember: the assembly is carried out according to the PRIMARY, most accurate sketch, and a copy from it will go to the templates. Otherwise, inconsistencies are inevitable, and fitting fragments along the way complicates and spoils the work.

Scissors are needed not simple, but special template ones, with three blades. The third cuts a strip 1.76 mm wide. Before cutting, the secondary sketch is glued onto a sheet of thin but dense cardboard (the ideal case is 0.5 mm electric cardboard) and a paper-cardboard puff is already cut. Otherwise, when making fragments, it will be very difficult to outline the contour on soft paper.

When gluing, be careful - paper soaked from any glue stretches when smoothed, and you need to glue it over the entire plane. Each finished template is verified according to the primary sketch. By the way, the pieces of both sketches must be uniformly numbered even before cutting.

A classic or glass stained-glass window is a window made of many multi-colored glasses, transparent or milky; dairy in this case means - opaque dyed in mass. Frosted glass is “roughened” on one side, and is transparent at the break.

Fragments of a stained-glass window are sometimes called stained-glass smalts, so as not to be confused with smalts, from which glass is typed. The stained-glass window originated from the mosaic. Sometimes they even say just “smalta”, because. There are many more stained-glass windows than glass mosaics. Further in the text, smalt is stained glass smalt everywhere.

Each smalt is framed with a U-shaped profile made of lead, tin, copper or brass. Then the smalts are laid directly on the primary sketch, and the seams are soldered. It turns out a window bound from H-shaped profiles. A frame from a brass corner is immediately placed on it, for strength, and soldered already along the contour. The resulting picture is inserted into a window frame or into an opening with backlighting. In this case, smalts are taken matte or milky.

In the figure in the previous section - one of the world's greatest stained glass masterpieces, a stained glass window in the south window of the Cathedral of St. Vincent in Blois. In the picture above - modern stained-glass windows of the classical type. Both there and there, a combined technique with the use of fusing is used, see below. The classical stained-glass window is very difficult to work with, time-consuming and not particularly durable. They were not put in hinged windows - they could crumble from the cotton of the open sash.

From simple to complex

Film and ceiling

A film stained-glass window (the first on the left in the next figure below) refers to false stained-glass windows: on a glass base, transparent, matte or milky, in one way or another, a pattern is applied with imitation of borders between smalts. In this case, it's just a self-adhesive film; we will talk about imitation of contour borders below, it is not at all difficult.

Making a stained-glass window from a film is no more difficult than just pasting something with self-adhesive tape. The main thing is to degrease the glass well with a solution of dishwashing detergent in water 1:5-1:20 and then rinse with distilled water. Bubbles on the film are pierced with a needle and disappear without a trace in a day or two.

Modern films are quite durable, but close up you can immediately see that this is only an imitation. On the other hand, it doesn't look like it at all. Therefore, film stained-glass windows are most often installed on the ceiling. There they are just in their place - cheap and cheerful.

Previously, ceiling stained-glass windows were not very common: the base is heavy, fragile, and extremely traumatic in case of collapse. According to the properties of the material, the stained-glass window on the glass should not be hanging at all. Now the best basis for ceiling stained-glass windows is acrylic.

Try to bend or break the computer disk. This is the strength of acrylic plastic at a thickness of only about 1 mm. A person throws a sheet of acrylic 3x3 m with a thickness of 2-3 mm by hand, and under its own weight it does not sag for many years. And suddenly it falls out - it quietly plans, swaying. And the film on acrylic is very strong. True, acrylic is much more expensive than glass.

Jellied

Second pos. on the left - a stained-glass window with paints, or a jellied one. From the face, it is already very similar to the real one, but from the inside, a fake is still noticeable, even if it is arranged along with the face in a mirror image.

We will consider the stained-glass window technique in more detail below: from skillful hands, such compositions come out very spectacular from the face, but getting them is not so easy. To complete the effect, you need a double passage of light rays through the base glass; hence the smooth or textured reflective surface underneath. Therefore, the most common application of pouring technique is a stained-glass window on a mirror.

The fact is that the paint, when filled correctly, forms a meniscus, see below. The rays, direct and reflected from the mirror film, pass through its sections with different curvature, and the stained glass plays with colors with might and main. Diffraction at the borders of the border also affects, so it is better to make it dark, but shiny, also see below. Particularly impressive is the “filler” on acrylic mirrors with a reflective tantalum-niobium substrate.

Tiffany

Tiffany stained glass (next left to right pos.) is already a real, full-fledged stained glass window made of glass smalts. The only difference from the classics is that the binding is not made of cast or forged grooves, but is formed right on the end of the smalt from soldered metal foil (folia), which in the Middle Ages was not yet known how to make.

When using brass foil, hard low-melting solders (which did not exist in the old days either) and semi-active tiffany fluxes, it turns out to be quite strong. It will also go as a stained-glass window on the window, incl. hinged or French, and at the door. The tiffany technique allows you to "stained glass" three-dimensional rectangular and curvilinear structures. To do this, the side faces of the smalt are made beveled at 45 degrees or at the angle required for curvature. Industrial equipment is not required for this. We will also analyze the Tiffany technique further.

facet

Faceted stained-glass window, penultimate pos. - an indispensable sign of a prestigious interior. Facet - a wide, at a small angle, optically accurate polished bevel on a thick, from 6 mm, glass plate. The angle of the facet must be exactly matched to the optical properties of the glass to obtain the so-called. diamond facet, giving the greatest light refraction.

Smalts of faceted stained-glass windows are made transparent, colorless or colored, from special types of glass - potash (light, with a lower refractive index) and lead (heavy, with a high refraction). Facet stained-glass windows made of skillfully selected combinations of both (kronflint facets) are especially effective.

Faceted smalts are assembled in special, piece-made profiles made of durable aluminum alloy, due to the large weight. In general, faceted stained glass requires high skill and industrial conditions for manufacturing. Most often, smalts are ordered in batches at optical-mechanical enterprises, and are already assembled in small / medium-sized production.

Fusion

Fusing stained glass, or fusion stained glass (from the English fuse - to melt, melt; the last position) is made from smalt heated to softening (300-1200 degrees, depending on the type of glass), laid out according to a stencil on a heat-resistant plane. The whole set is rolled, thanks to which smooth color transitions are obtained, which is unattainable in other stained glass techniques.

Fusion is the pinnacle of stained glass art. Even when manufactured by robots in an industrial environment, due to rolling, each product is unique. Large fusion stained glass windows cost a lot of money; however, with the development of robotization, prices are steadily falling, here, as they say, two laps ahead of the whole world is China. The fusion technique itself has been known since ancient times; it was according to it that smalts with faces, etc. were made and are being made. for classic stained glass windows.

Video: stained glass using fusing

Making a simple stained glass window

imitations

It has already been said about the film stained-glass window, and there is nothing complicated in it. But, before moving on to colorful, let's talk about the imitation of lead binding; it is common in both cases. A decent-looking imitation of a stained-glass window is largely determined by the similarity of the overlay border to a natural metal cover.

borders

There are three ways to imitate the binding of a classic stained glass window for both film and paint:

• Sticking the borders of the fragments with lead tape. Specially sold for stained glass cases;
• By forming contours from soft wire, see below;
• Guiding contours with contour paste.

First way

Lead tape is the real thing, without quotes, tape: a lead foil tape about 1/8 inch wide, an adhesive layer, the same as on ordinary tape, and a protective film. Unwinding the roll, lay it out along the contour, cut it off, remove the protective film, apply it, press it down - that's all. For film stained-glass windows - after gluing, for flooded windows - before pouring.

Second way

The contour is bent out of the wire and glued (film - after; pouring - before) PVA. But not simple, but dishware. It is a little more expensive than "paper", and the label says: "For gluing glass and porcelain." Reactive adhesives are not suitable, especially cyanoacrylate "Superglue". It is also unusually liquid, it flows everywhere where it is not needed.

The wire for this technique is traditionally used aluminum and then patinated, as for tiffany, see below. But the author of this article has repeatedly successfully used copper winding wire in high-strength enamel insulation (enamel wire). It bends more easily, and in radio shops and radio markets it can be found with insulation of literally all colors of the rainbow, see fig., with a diameter of 0.02 to 2.5 mm round and 1 to 16 mm flat (tire).

The tire is rare and expensive. But each contour curved from a round wire can be leveled and slightly flattened by strongly squeezing it in a bench vise between two even flat steel plates 8-12 mm thick. The insulation of even almost pre-war PEV does not deteriorate from this.

Especially good are copper-wire contours for stained-glass stained-glass windows on mirrors; this has already been discussed. If you need dullness and patina, it is enough to swipe over the finished one with sandpaper, and the exposed copper will soon be covered with the most real, not induced patina.

Third way

We prepare the contour paste according to the recipe:

1. Tableware PVA - 50 ml.
2. Natural black mascara (the best is Dutch) - 20-30 ml.
3. Aluminum powder (silver) - 30-40 gr.

We introduce mascara into PVA, mix thoroughly and add silver in small portions while stirring until a creamy paste is obtained. If you need a brass-like binding, we replace the silver with bronze powder. The "lead content" depends on the ratio of carcass with silver; it is checked with a test, completely dried drop.

Pasta is prepared as needed, it is not stored. When using, you need to stir all the time - the silverfish floats to the top. Apply along the contour with an artistic brush, picking up abundantly so that it lays down with a sausage of equal thickness, a good skill is needed here. More convenient for a beginner is a small confectionery syringe gun, but then, even after washing, it is unsuitable for its intended use.

Video: do-it-yourself English film stained glass window

"Jellied"

The stained-glass window is performed in the following sequence:

• We are preparing the assembly table: a flat shield covered with white calico, felt, flannel or flannel.
• We put a stencil on it - a numbered primary sketch.
• We degrease the glass - the base and put it on the stencil. We take the ends with our hands in new textile gloves; Do not use a suction cup and leave your fingers on your face.
• We bend, level and flatten the contours, one by one from the left (for left-handers - right) upper corner.
• We customize as needed and glue with PVA utensils. Dry for days.
• Fill with paint (see below). Adjacent cells of one color scheme are poured alternately as the previous ones dry out: suddenly it leaks, the dried drip can be easily removed with a safety razor blade.
• We dry for another day after pouring the last cell, insert it into a metal frame - ready for installation!

For the preparation of paints, see the following, but for now let's dwell on the fill; this is the most important procedure. Pour the paint with a richly impregnated brush or syringe from the inside along the contour, but in no case touching the border (see Fig.)! The paint should flow into the meniscus naturally! If the color came out watery, after drying, pour it again in the same way.

Pouring / topping up paint in the middle is unacceptable. If you need a thicker stain there, you need to contour it and pour more in there. In this case, two fills in the frame (along the outer and inner contours) are made without delay one after the other.

The fact is that the "blamba" in the middle will break the light refraction. There will be a “bokeh effect” known to photographers, and a single such element will violate the integrity of the perception of the composition. And if there are a lot of them, then the whole stained-glass window will turn out to be sloppy.

Paints

Homemade stained glass paints are known in four types:

1. On PVA and aniline - the easiest to prepare and the most unstable;
2. Soviet-rare - on BF-2 glue and ballpoint pen paste;
3. Gelatin-aniline - fragile and burn out in direct sunlight, but give an ideal meniscus;
4. Nitrooil - the most expensive, but have all the advantages without the disadvantages.

First. PVA-aniline paints are prepared simply: we dilute 50-100 ml of PVA dishware with distilled water twice or three times. Then, in hot distillate - aniline dye for fabric according to the instructions for the tablet, and filter through calico, gas or thin women's tights. We put a few drops into the PVA emulsion, stir, put a drop on the glass and check the color. Lightened - add a pigment solution; darkened - emulsions.

Second. BF-2 is diluted twice with acetone and hand paste is added dropwise to the solution with stirring. The color is checked with a test drop as above. Gives an excellent meniscus, stance, bright, but - alas! – the turnover of pure acetone is limited, because it is used in artisanal illegal drug production. And you can not replace the nitro solvent or alcohol.

Third. 6 gr. food gelatin is diluted in 200 ml. distillate at 40-50 degrees. An aniline dye solution, the same as for the first paint, is added dropwise after cooling to the same temperature and the color is also checked. Strength and resistance to fading can be slightly increased by coating with a transparent acrylic varnish after drying. Aniline with PVA - it is impossible, it will float.

Fourth. We are preparing a composition of 60% by volume of transparent furniture nitro-lacquer and 40% 647 solvent. Squeeze artistic oil paint directly from the tube with pea-sized balls, stir, check the color for a drop. Suitable for acrylic coating; at the same time, the strength is acrylic, and the durability is practically unlimited.

Notes:

1. Sometimes the paint does not stir, but curdles. This means - the manufacturer is a deceiver: it is not prepared with natural hemp oil.
2. Colors can be mixed as artists do, but following the rules for mixing mineral oil paints. Otherwise, it may turn out, as with Ozerov's paintings.

Video: stained-glass window master class

Tiffany

Tiffany stained glass is an order of magnitude or two more difficult to work with than those described above, so we will deal with them in stages. There are complexities and subtleties at all stages, except, perhaps, patination. And neglect of technique on any of them will spoil the work. In addition, you need to acquire some special tools and materials.

Tool

glass cutter

The main key to success when working on tiffany is a glass cutter, because you need to cut small curvilinear pieces of glass, and stained glass is very viscous. Therefore, only a diamond glass cutter is needed. Advisers are unlikely to manage with roller-coasters themselves through the window.

There are two types of diamond glass cutters: with a point (diamond pencils) and with a curvilinear cutting edge. The former are suitable only for straight cuts, and the latter for curved ones. The type of the cutting part and the method of cutting are indicated in the certificate for the tool, and in appearance - a glass cutter with a curved edge is necessarily massive, with a butt for tapping / breaking, see fig. After cutting with a pencil, the incised piece simply breaks off.

It is undesirable to buy from the hands - in 90% of cases they are sold because the diamond is punctured and does not give a ringing cut (see below). There are also glass files - thin steel strips with diamond coating. They make quite decent curved cuts of large parts (glasses for cabinets, etc.), but they are unsuitable for smalt - you cannot cut a small radius.

Notes:

1. Diamond, so you know, although the champion in hardness, it is fragile. The ancient myth of slaves who were promised freedom if they broke a diamond with a hammer on an anvil is just a myth. It pricks, even dropped on a stone floor. Therefore, the glass cutter must be stored in a regular case and handled with care.
2. Glass cutters from different manufacturers are very, very different in cut quality. A sign of good is a case made of genuine leather with a felt lining.

soldering iron

Tiffany soldering is done by the capillary method, so an electric / radio soldering iron with a long red-copper tip is unsuitable. You need a tool with a bronze nickel-plated sting; it serves only for heating, and the solder does not stick to it during the soldering process. You can recognize this by the initially short white shiny sting (see below in the figure with soldering accessories), and they are sold under the Long Life brand. Power - 100 W, no more and no less.

Abrasive

To finish the smalt after cutting, it is desirable to have a glass grinder, see fig. But it costs a lot, and in any case, for fine-tuning, you need three grinding bars numbered 220-240 and 12-20 mm wide: square, semicircular and triangular. The latter is also necessary if there is a machine for sampling sharp internal corners; in drawings, say, with leaves, it is very difficult to do without them.

Notes:

1. For smalt voluminous stained-glass windows, a grinder is absolutely necessary. It is impossible to accurately maintain the required bevel angles of the side faces with hands.
2. It is also desirable to have a diamond file with a lenticular section - for finishing the same corners on very small fragments.

Bars should be looked for from natural garnet or corundum, heavy and very strong. The "sand" miracles of powder technologies do not sharpen glass, but grind it themselves. But turning smalts even on the best bar is necessary under a layer of water, for which, when turning, the bar is immersed in a bowl, baking sheet or some other suitable tray.

Spatula for patina

We make a spatula for applying patina ourselves - from a toothpick and a piece of dense foam rubber 5-6 mm wide and 3-4 mm thick. We put it on a toothpick and fix it with a thin soft wire.

materials

Glass

Tiffany length smalts can be made from ordinary glass by painting it, as for “filler”. But it is better to buy a special stained glass. Translucent, matte or milky. In sheets, it is expensive, but the same firms sell cheap battle (the material is valuable), but we don’t need much.

Notes:

1. It is not necessary to order immediately cutting into smalts according to the sketch. Expensive, and you will not adjust later. You need to cut the smalts yourself.
2. Since Tiffany is assembled on soldering, the temperature of which the paint does not hold, it must first be completely assembled from plain glass, and only then poured. It is possible on both sides with a different color scheme, which will give the overflow of the picture when viewed from different sides.

Folia

Foil for framing smalt - folia - is sold in art stores especially for stained glass along with lead tape. Unit of goods - a roll of ribbon 4-7 mm. It is undesirable to cut a sheet of foil into strips yourself: the stained-glass window will come out sloppy.

Soldering

Materials for soldering are shown in the figure, there is also a soldering iron. Pay attention to the inscription: "Without rosin." Thread-like solder with rosin inside (harpius) is unsuitable for soldering stained-glass windows. Soldering flux (this is a jar in the figure) is needed with borax or other semi-active, for soldering electronics. Residues of active flux (with phosphoric acid, etc.) cannot be removed from the binding, and it will eventually corrode.

Usually, POS-61 solder is recommended for soldering Tiffany due to its fusibility - 190 degrees. From ordinary tin-lead solders (240-280 degrees), smalts sometimes crack. But POS-61 is fragile, very soft. There is also POS-61M with a copper additive, 192 degrees, but it is only a little stronger.

The best solders for tiffany are with cadmium additives: POSK-50-18 (145 degrees, in the figure) and Avia-1 (200 degrees, strength - like duralumin). POSK-50-18 is weaker, but still much stronger than POS-61/61M. It is inexpensive, unlike Avia-1, it is easily accessible.

Patina

Now in art and construction stores they sell blacksmith's patina of various types. Buy better fluid, ready to use. It will be only slightly cheaper to prepare the powder composition yourself, but difficult, and the quality of the coating will be worse.

Stages of work

Sketch/stencil

Already when choosing a pattern, it is necessary to take into account the features of the technology and its weaknesses. S-, N- and deep U-shaped bends of the edges of the smalts are unacceptable: due to the difference in the TC of glass and metal, the smalts will eventually crawl out and fall out along them. An ideal smalt is an area bounded by convex smooth curves. If a non-monotonic bend is needed, it must be collected from pieces, even if of the same tone, see fig. Suddenly, the finished composition turns out to be flickering / clumsy due to the binding - nothing can be done, you need to change or refine the drawing.

Note: drawings for stained-glass windows are a separate area of ​​pictorial art. There are many on the Internet ready for different techniques, but if you want your own unique one, you need to turn to a stained glass artist or look for creative abilities in yourself.

Smalt cutting

First you need to make a base, the same as for stained glass. With the right cut, the residue breaks off from the slightest push, so you don’t need to immediately bring it to the overhang: after making an incision under the glass, a thin rail is slipped behind the cut, and lightly presses the residue with your finger. It didn’t break off - you can tap on weight.

Try cutting a piece of regular window glass. If the cut is creaky, a scratch is visible, and for a break you need to tap several times, it’s too early to take on smalts.

With the right cut, the glass makes a quiet, thin ringing, and the crack is not visible at all. For a break, light pressure is enough or lightly poking from below. To obtain such a cut, you need to maintain the angle of the tool in the direction of the cut (about 45 degrees, or according to the specification for the glass cutter) and keep it strictly perpendicular in the transverse direction.

The second condition is a strictly constant pressing force. The skill in angle and strength must be worked out to full automatism when cutting lines of any kind. It's called putting your hand up.

Note: the exact angle and pressure are individual for each diamond glass cutter. Therefore, aces glaziers do not use other people's tools and do not offer them for rent.

But that's not all. A curved cut by itself will never crack, even though you crack. It will leave the side and, according to Murphy's First Law, just where it will hurt the most. What to do?

Auxiliary cuts on a tangent, the thicker, the more curved, see fig. The general rule is that the deflection between two adjacent auxiliary cuts should not exceed two glass thicknesses. By the way, this circumstance must also be taken into account when developing a stencil. Therefore, if you order a drawing from an artist, then immediately determine the stencil. However, good masters attach a stencil to the drawing without any.

If there is an angle on the smalt, a tangent to the least convex side is required from its beak. An important conclusion follows from the foregoing: do not try to cut out a lot of one-color smalts at once from a large piece. Almost all expensive material will go to waste. In general, smalts are cut one at a time as the stencil is filled, see below.

Here the question arises: how to trace smalt templates? The glass cutter is not a razor blade or a utility knife, it is rather plump. And for this, stencil scissors are needed. The width of the third, middle, blade just takes into account the resulting indent.

Set to composition

Before starting to set the stained-glass window, the stencil on the assembly board is fixed with even rails on the left (for left-handers - on the right) and at the top. From the corresponding far upper corner, they are laying the smalt, see on the left in fig.

Smalts are cut out strictly one at a time, otherwise the whole set will spread before reaching half. Having cut out one, they bring it up and align it according to the stencil (you need an indent inward from the contour of 0.5-0.7 mm for soldering). Then they wrap it with foil and roll its edges with a round piece of wood or plastic (middle pos.) After rolling with the same trowel, iron the side face; for internal sharp corners, it is convenient to use a school plastic ruler with a wedge-shaped edge or a plastic knife from a set of disposable tableware, and add it.

Now the smalt is put in place before soldering, tightly pressed against the previous ones or the side, and the template for the next one is checked against the stencil. If necessary, cut the template with curved nail scissors, and only then return to the glass with a glass cutter. There should be no visible gaps between smalts on the filled part, right pos. in fig.

Note: The best stained-glass windows are obtained by typing on a blueprinting machine, covered with calico or baize. The smallest crack is immediately visible.

Crimping and fluxing

After laying all the smalts, the composition is carefully crimped horizontally with slats, now on the right (left) and bottom. If the smalts at the same time begin to stick out at an upward angle, they iron and finish the foil, press it down from above. After that, they start fluxing.

The used smalt templates are laid out next to the shield according to the composition and numbering. Special accuracy is not needed, as long as the pieces are not mixed up. Now fragments are transferred to this intermediate stencil, starting from the corner opposite the initial one, i.e. in reverse order of assembly. So it is necessary that the flux on the ends of the smalt does not dry out.

Next, the smalts are transferred one by one back to the working stencil in the same way as they were collected. At the same time, the foil frame is smeared with a thin layer of flux (it has the consistency of petroleum jelly) using a match or a toothpick. Having assembled the composition again in the old place, they are again crimped, but the right (left) and lower rails are now fixed with cloves. You can start soldering.

Soldering

The main condition for soldering is not to do a lot at once. Due to the difference in the TCR of glass and metal, when overheated, the entire composition can swell and fall apart. At a time, you need to solder the area in one or two male palms, then let it cool, and solder further. Conduct soldering in the order of laying.

Tiffany is soldered by capillary method. First, along the contour of the next smalt, pieces of a solder thread as wide as a soldering iron tip are dripped onto the seam with a step of 1-1.5 cm. The operation is carried out on weight, without touching the thread of the solder and the sting of the foil. This is painstaking, exhausting and responsible work, so take your time, take breaks for rest.

Then the seams are soldered. Each drop or sausage of solder on the seam is heated until it all at once goes into the seam and spreads over it inside. If the flux evaporates and burns out earlier, this may not happen, so flux generously, but without dirt. The missing flux during the soldering process can be added, then only after the soldered area cools down. It is not necessary to scatter the set, the flux can be applied on top and warmed up a little to flow into the seam.

Video: Tiffany stained glass technique (eng)

framing

The composition is also soldered into the frame. It is not necessary to glue on epoxy or acrylic: due to the difference in TKR, the stained-glass window will not last more than 5-7 years. Make a frame from a brass or bronze corner.

The frame must be solid; one solder joint is allowed in the overlay at the junction of the contour. Therefore, a U-shaped profile is not suitable: how can you put a stained-glass window into it? You can, however, slip it in pieces under the stained-glass window, but then you need soldered scarves in the corners, which will be visible on the finished product. However, again, it's a matter of taste. You can immediately coordinate the pattern with scarves.

The frame is cleaned from the inside with a school eraser to a shine (semi-active flux does not dissolve the oxide film on brass) and thoroughly washed with a cotton swab, richly moistened with alcohol. Then wipe with a new, unused, microfiber eyeglass cloth.

Now the frame from the inside, and the edge of the stained-glass window from the face and from the side, are smeared with flux, the frame is applied to the composition, and soldered, like smalts, piece by piece. Upon cooling, the stained-glass window is carefully turned over, a flux is applied to the wrong side gap between the edge of the composition and the frame, heated until it spreads, and the gap is soldered. It remains to rinse from the remnants of the flux and patinate.

flushing

It is no longer necessary to waste liters of alcohol to remove flux residues: dish detergents do an excellent job of removing them. A particularly gratifying circumstance for a non-drinker: from “him, darling” during alcohol washing, such a dukhan ...

Wash the stained-glass window (already a stained-glass window) in the bathroom under the shower with a foam sponge soaked in detergent. Particularly sticky flux residues are removed with a toothbrush. They do not lend themselves immediately, so a simple operation turns out to be painstaking: you cannot press hard or cut off. Often a stained-glass window has to be soaked for a day in a bath, in which a whole bottle of Fairy is thumped, until the flux deposits become limp and come off under the sponge.

Patination

The final stage is patination of the binding. The operation is simple: pour into a small consumable container, collect on a spatula and apply to the binding. Drying excess is washed off with the same dishwashing sponge under the shower without any difficulties.

There is only one nuance when patinating: this is a caustic and harmful thing, ready-to-eat blacksmith patina. Therefore, you need to work in a ventilated area, in protective gloves, goggles, and, preferably, in a petal respirator.

After washing from the remnants of the patina and drying, the stained-glass window is ready - you can insert it into the frame in place and admire it.

About matting

Film and flooded stained-glass windows, used with backlighting, look good if the underside of the base is matte. Do-it-yourselfers are sometimes offered recipes for chemical matting, but these recommenders, it seems, did not smell this chemistry themselves, since they are alive: deadly volatile components are used in chemical matting - hydrofluoric (hydrofluoric) acid and its compounds. Matting with silicic acid is no better: concentrated sulfuric acid is needed, and poisonous volatile products are also formed.

The easiest way to self-matte the inside of the base is to take and apply plastic tracing paper from the inside. Lasts over 10 years. If the matte base is visible from two sides, then there is a laborious, but completely harmless way:

• We buy 10-50 g, depending on the area, of corundum powder of the smallest fraction (0.05 mm).
• Scatter in small piles over the area of ​​\u200b\u200bglass.
• We drip linseed, rapeseed, palm oil or a spindle into each pile until a slurry is obtained; The list is in order of preference.
• We rub with light pressure with a polisher made of whole, not double, rawhide; a piece of old coarse wide waist belt will work well.
• The three front (smooth) side of the polished, alternating longitudinal-transverse and circular movements. With some skill, in this way it is even possible to obtain frosted glasses for photographic equipment.
• The remains of the abrasive are washed off with water with dishwashing detergent and a sponge.

Note: you need to flush it into the pan, not the bath, otherwise the plumbing died.

Video: Tiffany stained glass show

Finally, aluminum

Someone, after reading the article, will remember: wait, but the glazing of furniture? Why not stained glass? In standard duralumin profiles, cheap, beautiful, shiny. And you can bend them.

No, there is no stained glass. Stained-glass window is a separate transportable product in a solid frame, soldered or cast. Okay, let's sleep. Aluminum is brazed, and even without argon - there are special “scraping” solders (CSP, for example) and not very caustic fluxes based on oleic or palmitic acid.

Yes, but the temperature is needed 350-400 degrees, the glass does not hold this in close contact with the metal. If, however, the entire set is heated very slowly on a refractory shield, it swells and disintegrates from the difference in TCR. Give allowances for thermal expansion - it loosens and falls apart when cooled.

So "real", not on glue and resins, stained-glass windows in aluminum binding are not yet obtained. If someone figures out how to make them, it will certainly be a revolution in stained glass art: aluminum alloys are light, and comparable in strength to steel.

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To achieve originality in the interior, you can use such an idea as the use of stained-glass windows. To do this, it is not at all necessary to hire a craftsman or purchase expensive finished products. It is quite possible to create a stained-glass window with your own hands at home, with some effort and having studied the proposed material.

Methods for making stained glass windows

First of all, you need to decide which images will receive your . To do this, you need to come up with a sketch or find a finished one. This will require:

• Paper or cardboard, the same size as the stained glass window.
• A drawing with clear contours, elements.
• Mark the fragments of the picture with numbers for coloring in the corresponding color.
• If typesetting is enabled, you can specify the grain direction.

Outwardly, the blank resembles a numbered children's coloring book.

The ability to draw is not necessary: ​​it is enough to print a suitable basic stencil. A disappearing marker is required to transfer the image onto the glass.

Using thumbnails

Requires a sketch that includes small elements. Small drawings are easy to print, large images will require manual drawing, transfer to glass. You can make a photocopy of the drawing for templates. The main stencil is made using the original, transferring it to the glass. You will need to purchase template scissors: they differ from ordinary scissors in the presence of a third blade. This will allow you to cut a strip 1.76 mm wide.

A copy of the sketch must be glued to thick cardboard at least 0.5 mm; fit box. This is necessary for tracing contours. They must be tough. You need to stick the paper evenly over the plane, preventing it from getting wet. It is worth numbering parts of the sketch in advance.

Step by step work

Thinking how to do it yourself at home , work plan needs to be developed. You need to start with simple actions, gradually moving to more complex ones.

Doing it yourself at home is the easiest way to do it, and you should start with it. For this purpose, it is necessary to transfer the image to a glass base. Borders are simulated. You can use self-adhesive tape. The bonding surface must be well degreased. If bubbles appear on the film, they can be pierced with a sewing needle.

This method is simple and cheap, but upon closer examination it will be noticeable that the stained glass is not real. It has no view from the street side. Do-it-yourself film stained-glass windows are most often made for ceilings, since they do not have a reverse side and are far enough from the eyes. For the ceiling, this type of stained-glass window is also good because it is light in weight and completely safe in case of collapse. For the ceiling, you can use an acrylic base, glass should be avoided.

Contour stained-glass windows and painting on glass

Imitation lead binding

The original stained-glass windows have a metal cover. The imitation should also repeat it so that its appearance is more realistic. There are several ways to simulate this element:

1. Gluing borders with special adhesive tape. You can buy this in the salon for artists. Scotch tape will help shape the contours. The tape is 1/8 inch wide, designed like regular tape, only it has a matching color. It is very easy to work with this material.
2. This method illustrates how to make stained-glass windows with imitation binding using wire. You will need aluminum or copper wire and porcelain glue, you need to find dish glue. Superglue is not suitable, as it leaves a lot of marks. You can use any wire with a thickness from 0.02 to 2.5 mm, depending on the size of your work: it is carefully glued to the seams, then covered with a patina.
3. The plate can be made independently. This will require:

• PVA glue for porcelain 50 ml.
• Mascara 30 ml.
• Aluminum powder 40 gr.

All these components must be mixed until a homogeneous mass. If you want to achieve the color of brass, you need to use bronze powder instead of aluminum. Before painting the product, check what color is obtained. Please note that the pasta is not suitable for storage, it must be cooked as needed and constantly stirred. Apply the mass with a brush or a small syringe. This requires skill.

Imitation lead binding

Varieties of stained glass

Making stained glass windows at home X allows you to show imagination and use different technologies, not limited to one recipe.

Fusing is a rather complicated stained-glass window manufacturing technology. . It requires the use of solid glass, on which elements of different shades are applied. The fragments have pronounced borders; there is no separating metal strip between them. For the finished canvas, calcination in an oven is required. The outlines of the drawing can be varied depending on the idea of ​​the author. Such a technique is available for production, and it is unlikely that it will be possible to repeat it at home.

- These are also stained glass windows, but consisting of separate parts, which are fastened together with metal strips by soldering. This style is distinguished by intricate forms. It has a complex design and bright, varied colors. Most often, using this technology, various items are made, for example, lamps, lamps, toy houses.

This do-it-yourself stained glass manufacturing technology can have a number of problems:

Film stained glass windows

It is quite difficult to make on glass with your own hands, therefore a very affordable technology is gluing a special film on glass. For this you will need:

• Self-adhesive film in various colors.
• Lead-based tape.
• Rubber roller.
• Glass.
• Paper knife.

This technique is safe, a teenager can master it, so you can offer him to make such stained glass with his own hands.

To create a picture, you will need to transfer the outline of the picture to the prepared glass using a film. First, a template is created. It can be drawn or printed, then it is applied to the glass with a marker, the contours are glued with lead tape, a colored film is cut out and glued to the glass. After that, the lead film is applied again. To secure the elements, they are passed over with a rubber roller.

Film stained glass manufacturing

stained glass paints

Paints will help solve the problem of how to make a stained-glass window on glass with your own hands, without using complex technology, while achieving realism. The contour of the pattern is applied to ordinary glass using special paints; You can do this work with children.

It should be borne in mind that the paint dries for a rather long time. It will take about a day for it to dry completely.

Stained glass paints and contours

Sketch development

Making a stained glass window with your own hands should not start immediately with windows or doors. It is worth trying on an old piece of glass, a decorative vase, a glass. The paints offered for this work are different: there are fired and non-fired types. The former require heating the product in an oven, which is not very convenient if you, for example, paint a plastic window.

After firing, the paint will become dull and lose its brightness.

Non-fired paints do not lose their brightness, do not require heat treatment, but are demanding for washing. They are afraid of aggressive detergents. A window decorated with them will need to be washed very carefully. If you are only trying to create stained glass windows with your own hands , don't skimp on paint. Purchase quality imported products. Such materials have optimal density, often equipped with dispensers. They don't run, they don't smudge.

Stained glass outlines can also be purchased separately. They are sold in tubes, making them easy to apply. You should not immediately acquire a black outline: it is difficult to work with. For a beginner, silver or white is well suited. To achieve the desired width without experience will not work - you will need to practice. Excess material must be wiped with a damp sponge immediately, otherwise they will dry out.

For training, you can use any glass or mirror. First you need to clean its surface from dirt, degrease it: you can do this with alcohol or a special solvent. Before you make a stained glass window , think about the sketch. If you have created a drawing, it is better to make several photocopies, the finished version can be printed on a printer. If you started your workout with a lamp, roll up the sheet, insert it inside the glass and attach with tape. After that, the drawing can be circled with a marker already on the glass. The marker is better to take erasable. After that, you can use the stained glass outline. Gently apply it to the surface and let the paint dry.

Shake the paint tube gently before use. It doesn't need to be shaken. otherwise bubbles will appear in the paint. The paint is applied in a thick layer, it is required to paint over each element of the picture. After that, let the paint dry completely. In order to protect the color layer, you can use acrylic varnish or bake the glass in an oven. The second option is used exclusively for heat-resistant glasses.

Thinking of installing stained glass windows? Read in our material and how much it will cost.

Find out what are the advantages and disadvantages of classic stained glass windows, read consumer reviews and find out prices in our article.

Do not use glass. It is quite possible to get by with a safe film. Take the file, put a sheet with the desired image in it. Show your child how to make stained glass. To do this, you need to circle the drawing with a marker, paint it with previously made paints. After the paint has dried, the film must be cut and pasted onto the glass. Let the child come up with a drawing on their own. Many children are happy to show creative activity, draw and make stained-glass windows.

Conclusion: you can create an original interior decoration yourself, while you will get a lot of positive emotions, you will be able to engage in the creative process together with your family.

You can add unusual design to any glass thing or the entire interior as a whole with the help of a stained glass window. You can get it either by contacting a special workshop, or by performing it yourself. Creating a stained glass window with your own hands is not difficult, you only need a strong desire to create it and a little perseverance, as well as listen to the tips I describe below. By the way, while we have not gone deep into the process of creation, I will immediately note that stained-glass windows look most advantageous in rooms with windows to the south.

So, we need: 1.6 mm aluminum wire, white glue (PVA emulsion) and special stained glass paints. The latter can be replaced with aniline dyes - dyes that are used when dyeing fabrics.

However, before starting work, carefully consider what result you want to achieve in the end: will it be some kind of drawing on glass (birds, fish, animals, people, fairy-tale characters, flowers, etc.) or whether your goal is just multi-colored ornament. Then, on whatman paper (cardboard or graph paper), draw the outlines of the pattern, indicating on it where and what color will be used. You can do the sketch yourself, but if in doubt, you can ask for help from more artistically gifted acquaintances.

Now remove the glass from the place where it is located (door, window opening, frame, etc.), and degrease the side where the stained glass will be made with the help of an extract and acetone. After that, fix the previously prepared sketch on the back of the glass.

First step.

Next, our glass must be placed strictly horizontally, to minimize the error, use a level or a small ball. Then we bend the contours of the necessary elements with wire. Gently, but generously, grease the wire with glue and press it against the glass, placing a metal plate with a load on it. We leave everything motionless for 1-1.5 hours so that the wire has time to stick.

But this time we do not sit idle, but we prepare paints (colors). If aniline dyes are used, then they should be dissolved in distilled water and filtered (this will get rid of possible solid particles or lumps), and then mixed with PVA glue. As a result, you should get a solution that resembles cream in consistency, otherwise it will not be very convenient to work with it.

Second step.

Now we check the color saturation on a piece of glass, for this we apply a little paint there. When the paint dries, you will see what shade you have. If the tones are too bright, you can muffle them by adding emulsions there, and the pallor, on the contrary, will be corrected by the added dye. But remember, the amount of intense and pale colors must be balanced, so do not try to make all the colors as bright as possible.

Having prepared all the colors and shades, pour them into glass jars and cover with lids, this will protect them from drying out. You can proceed to the most basic and crucial stage of work - applying colors to the glass, or rather to the areas marked on it. To do this, you will need a little practice (this can be done on an unnecessary piece of glass) and a clean brush. Colors are applied to the stained glass elements starting from the wire (part outline). Moreover, adding new portions of color, it is necessary to constantly monitor the thickness of the layer of the entire element, this will determine the uniformity of the color of the element in the future. Also remember that you can not apply color on top of an existing one, since the paint tends to dry out, so all your extra touches will be very noticeable and will lead to a defect in the entire canvas.

Third step.

If for one reason or another, something did not turn out the way you wanted, then in no case do not try to fix anything. It is better to completely wash off the unsuccessful area, let the glass dry and try again.

Once you've fully mastered one color, move on to another. And in order to avoid streaks, new elements should be painted over only where the adjacent parts have already dried out.

Having finished with all the elements, inspect the back of the stained glass window. If everything went well, then I hasten to congratulate you, the work is over, and the stained-glass window can be fixed in its rightful place. But often not everything goes so smoothly. It happens that the places where the wire is glued do not look very neat. Do not despair, take white enamel paint and draw thin white stripes in these places (wire fasteners), of course, degreasing the glass there first.

Now that's all for sure. Well, if you want to make your stained-glass window more durable, I recommend varnishing the resulting work of art.

Video.

So I wanted something unique, sunny and fresh, like a sea breeze!
To you too? Then we make "Paisley" earrings out of wire, epoxy resin and
pearlescent dyes!

I. Choose a motive. I wanted to make Indian cucumbers. I printed a drawing
which will serve as a template for me.You can, of course, draw it by hand.

II. I cut off two identical (about 20 cm) pieces with a diameter of 1.5 mm.
Aluminum - because it is light, soft and plump. This is exactly what is needed now.
If there is no aluminum, you can use copper, copper with silvering.

III. I set the main size of the element using a round jar that is suitable in diameter.

IV. I give the wire the desired shape, referring to the template.

V. We got these, almost identical pretzels.

VI. On a piece of board I pull a wide adhesive tape with the sticky side up.

VII. I lay the blanks on the sticky side of the adhesive tape and check that the wire
adhered very well to the film.

VIII. I decided to complicate the pattern by adding small daisy rondels. They are wonderful too
stuck to the tape and stay in place. In principle, filling and decoration
can be anything, I also thought about filigrees.

IX. Once again, before pouring the resin, we check that the wire sticks well
to tape. If not, the resin will leak out.

X. Gently, slowly, pour a thin layer of mixed
transparent epoxy resin. Compound used

It is better to let the mixed resin stand for several hours, all the bubbles will go away,
that formed during mixing, the resin will thicken and will not be so strong
spread. The mixed compound can be placed in a water bath
(in a bowl of hot water), so degassing will be faster.

XI. To make the product even more attractive, I decided to stick rhinestones on the rondel.
We use the same epoxy for this.

XII. The workpiece is filled and dried. This step is according to the instructions for the epoxy resin.
Don't forget to cover the elements with a dust cap!

XIII. The next day after drying, I noticed that my blanks were cloudy and milky.
This was the adhesive from the adhesive tape (right). Don't worry, we'll fix everything now (on the left).

XIV. At the bottom, a blank not yet removed from the adhesive tape, at the top, already cleaned from the remnants of glue,
perfectly transparent and clean element.

XV. In order to remove the remaining glue, you need to stock up on cotton swabs and
solvent. I have white spirit.

XVI. Feel free to clean, it will not damage the resin. Then wipe dry.

XVII. For additional decor and adding effects and color, we will use
by adding them to the mixed compound. They are impossible
better suited to the image of Indian cucumbers!

XVIII. We apply a drop of green compound. We give shape.

XIX. We give the dye the shape of a drop, use a toothpick - it's convenient.

Even if it turns out not quite symmetrical and the same, do not worry.
Handmade and author's strokes are valued higher!

XX. Mother-of-pearl with a blue flash dripped from above. You can create patterns
using different contrasting colors of dyes. Let the elements dry.
Don't forget to cover from dust.

XXI. The dye compound polymerized.
It turned out well.
Now we can decide what we want to make of these elements.
You can drill holes and there will be a connector!

XXII. This is how the element looks in the light. Clean, transparent.
The color is sky blue, I love it!

XXIV. And a bonus! :)
There was epoxy, of course, it's a pity to throw it away.
Broken earplugs were on hand. I bit off the contact part from them,
filled with colored compounds.
It turned out flowers with mother-of-pearl enamel!
Now I will have a bracelet with beautiful pendants.
In general, many things can be "enamelled" according to this principle :)

I hope this simple lesson will be useful for beginner needlewomen.
and will give new ideas to already experienced masters.