home Ideas Artistic processing of glass and techniques for its decoration. Artistic glass processing

Artistic processing of glass and techniques for its decoration. Artistic glass processing

Over time, the requirements for glass mosaic designs have increased. We tried to shade colored glass by applying darker colors. The results were positive. The technique of coloring glass by firing was discovered in the 9th century. This new trick found widespread use. Thus, glass painting arose and developed at the end of the 10th century. With the development of glass painting, glass mosaic began to fade into the background, but it was not completely supplanted, but continued to exist in combination with glass painting.

Starting from the 11th century, and then in the 12th century, images of people began to appear on window glass, in addition to ornamental decorations, since Christianity, in contrast to the Muslim religion, which prohibited icon painting, has always shown interest in depicting human figures. The basilica, decorated with frescoes and mosaics, did not need figures on the windows. On the contrary, a colored window, strongly accentuated by figures, would reduce the power of expressiveness of the wall painting.

In the first half of the 12th century, the main chapter of the Nistercian congregation banned figurative glass painting. This coincided with the heyday of stained glass art. Instead of figure painting on glass, mosaics, grisaille and patterned glass began to be used.

To make stained glass with human figures, lead and black paint were used, although the latter is optional.

A skilled master with lead contours can achieve great effects when depicting figures. The old masters did not abuse lead and black paint, otherwise, with a small window area, stained glass windows would let in little light. Each main outline, drawn with lead or black paint, was logical for them. Hoping that the stained glass window would be viewed from afar, the artist resorted to techniques of monumental painting. He drew wide, thick strokes, and then combined them with three or four increasingly thinning parallel strokes. Drawing hair on the head and beard, lines on the palms of the hands, wrinkles on the forehead. Everything was designed to be perceived from afar. What appears sharp to the eye up close, for example, a black stroke and a white space, then at a distance merges into a harmoniously shaded contour.

The artist selected paints without regard to reality. Everything in the drawings was clearly distributed, the contours clearly separated the colorful spots. The figurative images did not occupy the entire window space, but only its middle. They were surrounded by ornamental borders, palmettes, inscriptions and patterns on clothing. The design or letters were applied with a brush or scraped from the background. Individual details - crowns, edges of clothing - were inlaid with small pieces of colored glass imitating precious stones.

In the 12th century, windows with medallions appeared. The figures become smaller, but the principles of the old composition are still strictly observed. Standing figures filling the entire window are rare and still very awkward. The central places are reserved for images from the Holy Scriptures, the remaining, no less, area is occupied by a floral ornament of flowers and leaves. Around the same time, they began to apply a pattern, mostly scraped, onto the back of the glass. These stained glass windows mainly belong to the era of the dominance of the Romanesque style in art in Europe, which lasted from approximately the 10th to the 12th centuries. The leading role in the art of the Romanesque style belonged to architecture, characterized by the heaviness of its forms. Powerful walls, narrow window openings, stepped portals recessed into the wall, massive pillars and columns, which gave the building a stern fortress-like appearance, are the distinctive features of Romanesque style buildings. In church architecture, the basilica type was mainly used. A number of cathedrals, begun in the Romanesque style, were completed in the Gothic style, which, naturally, was reflected in the decorative styles, including stained glass windows. The role of the artist in glass painting at this time, right up to the 13th century, continues to remain insignificant: the drawing is primitive, the figures are rather conventional, ornaments, people, animals are sketched with a couple of rich contours, faces and other details are made of colored glass. A drawing is given life only by colors whose language is accessible and understandable to every person.

In the 13th century, another innovation can be traced in the technique of stained glass. Colored glass was superimposed on the colorless glass, which by that time still had a greenish-yellow tone, on which a design was engraved. Colorless areas were sometimes painted on one or both sides with ceramic paints. This achieved a great variety and richness of tones. The whole picture, as usual, was assembled and mounted with lead fittings. Stained glass became most widespread in the 13th century, especially in churches. Church stained glass windows usually consisted of rows of small medallions with figured images repeating the full height of the window. Medallions were round, oval or other shapes; sometimes these shapes alternated in one stained glass window. On both sides of the middle row were the same half-medallions. Rows of medallions were bordered by a border, wreath or garlands of stylized leaves, lenos, etc. The spaces between the medallions were filled with glass mosaics in the form of squares, circles with flowers or rosettes. Architectural forms appear on stained glass windows as a decorative element - arches supported by columns.

On the artistic design of stained glass from the 11th to the 14th centuries, Byzantine influence is noticeable, reflected in the color scheme and design conventions. Gradually the transition to Gothic begins.

Although the Romanesque style in glass painting, which consisted mainly of ornamental decorations, persisted for a long time into the Gothic era. In the 14th century, the Romanesque style was finally supplanted by Gothic and church windows began to be decorated with stained glass windows with images of figures, the background for which was ornamental patterns or light architectural forms. The faces of the figures were painted. Along with this, there are stained glass windows that are figureless, ornamental, and also made in grisaille. This type of painting appeared in 1250 and began to be widely used in the 17th and especially in the 18th centuries in the architecture of classicism, mainly in monumental painting - painting walls and ceiling lamps.

Gothic, or Gothic style, is a movement in art that dominated in European countries, mainly in Western Europe, in the Middle Ages (from the 12th to the 14th-15th centuries). In Gothic, the features of feudal-church influence are especially pronounced; The Catholic Church had a strong influence on art, and it generally retained a religious, conventional character. Despite this, remarkable architectural structures were erected during the Gothic era, which reflected the extraordinary skill of the townspeople. During this era, aristocratic, so-called knightly Gothic arose, which reached its greatest development in the 15th century. It was distinguished by the sophistication of its forms, but it was very conservative and devoid of those compelling features and qualities that were endowed with the works of city masters.

The main art form of this era was architecture. At this time, colossal cathedrals with tall towers that had cult and social significance, city halls, feudal castles, luxurious mansion houses, market buildings and much more were built. Design features Gothic structures did not require massive walls, and the outer spaces between the pillars-buttresses were filled with huge lancet windows. These windows were decorated with stained glass, which by this time were already distinguished by a high artistic level. Their quality was influenced by the development of painting in general and glass painting in particular. The appearance of new colors enriched the palettes of artists; it was now possible to convey subtle color nuances, chiaroscuro, and painting became extremely expressive. Stained glass painting became more complex, the colors had amazing beauty. Huge window spaces made it possible to use large painted glass. They were not fastened with lead reinforcement, but were fixed directly in the window sashes. In this era, close collaboration between the architect and the glass painter became absolutely necessary, with the architect taking the lead. The general character and composition of glass painting is in complete agreement and combination with the architecture of the building. The mysticism of the early Middle Ages gave stained glass an expressive power of enormous power. This is the period of the highest flowering of stained glass. In the 15th century, glass painting was already competing with wall painting. The technology at this time makes glass the same comfortable material, like canvas, since lead mesh is used less frequently, and glass sizes are becoming larger. In the 16th century, copies of works by great masters appeared on window glass.

In figurative painting on glass, scenes were arranged against a background of patterned carpets; the ornament seemed to be a continuation of the figurative images. If initially the drawing was rather conventional and primitive, then, in any case, it was truthful; for the artist it was not an end in itself, but was the fruit of his creativity and naive faith. The viewer perceived it in exactly the same way.

In architectural forms, Gothic portals, roofs, and canopies were common, under which individual figures, and later entire groups, were depicted.

In the Gothic era, stained glass windows were created in entire cycles, such as cycles of stained glass windows in Gothic cathedrals in Chartres and Bourges in France, in Cologne, Ulm and Nuremberg in Germany, etc.

At the end of the Middle Ages, figures in glass painting ceased to be conventional, the abstract turned into concrete, real. The movements of the figures are less constrained, more dynamic, the drapery of the clothes becomes richer. WITH great strength the emotional experiences of the characters depicted are expressed, and the touching moments of the narrative are conveyed with incomprehensible virtuosity. Glass painting never again reached such a high artistic level. But from this time on, the decline of stained glass art began, and with it, monumental painting on glass also died out. True, the technique of execution and design continued to improve, but the use of stained glass narrowed as the Renaissance made new demands on architecture. The architect strives to ensure that the interior space of the building clearly appears before the viewer, so that there is more light in it.

The architectural monuments of the Gothic era include cathedrals, town halls, towers, castles and other buildings erected mainly in the XIII-XIV centuries. Some buildings were started back in the 12th century, some were completed in the 16th century and later. Gothic buildings have been preserved in France, Germany, Austria, Spain, Italy, Czechoslovakia, Poland, Belgium, Holland, Switzerland, Hungary and other countries.

On the territory of the republics that are part of the CIS, Gothic architecture was poorly spread. We encounter architecture of a Gothic nature mainly in the Baltic republics - in Lithuania, Estonia, and also in Latvia.

Still, one cannot consider stained glass as an exclusively ecclesiastical or religious art. In addition to stained glass windows with religious content, in Gothic cathedrals (Chartres and others) there are stained glass windows with realistic scenes - masons, shoemakers and other craftsmen and artisans at work. Such stained glass windows were usually donated to cathedrals by craft workshops. Stained glass windows also decorated palaces and castles, public buildings and residential buildings. Their themes were predominantly secular, the subjects were historical, love, heroic, mythological, allegorical, heraldic, portrait, landscape, and less often on biblical themes.

There was also so-called cabinet painting on glass, intended for decorating a small room. The technique of its execution is the same as that of monumental glass painting. Cabinet glass was not used independently; it was a colored accent on a relatively large plane of colorless, mostly patterned glass. Cabinet painting on glass decorated the room, created comfort in it and completed the interior.

In the Middle Ages, when, under the influence of feudal and church rule, home decoration was of a very modest, ascetic nature, decorations made of colored glass were hardly appropriate.

Gradually, especially during the Renaissance, the art of stained glass, like art in general, began to penetrate civil buildings, where it has remained to this day, reaching high levels of development.

In the 15th century, frames in stained glass windows were worked out in great detail, the figures were dressed in rich clothes, which were depicted on glass with amazing skill and beauty. At the same time, there is a tendency to imitate oil painting, careful modeling and black and white effects. Instead of an ornamental background, images of landscapes and interiors, alien to stained glass, appeared. In the 16th century, stained glass techniques became even more sophisticated.

Even in the Gothic era, they gradually began to move away from completely filling windows with colored glass, and already at the beginning of the Renaissance they were finally replaced by small paintings on glass with a colorless background. These paintings were often bordered with rich floral and pictorial ornaments, sometimes with the inclusion of human figures, which, in fact, formed the basis of the decorative decoration of the window. During this era, stained glass began to resemble paintings. The technique became more careful and sophisticated, mainly colorless glass was used. Stained glass paintings from later Renaissance times contain various allegorical figures and symbolic signs.

For most types of art, not excluding decorative arts, the Renaissance was a period of prosperity. However, the art of stained glass is somewhat of an exception. In church decor, painting on glass is gradually being replaced by other types of decorative art, but in public buildings - city halls, palaces and private homes, stained glass windows are not uncommon and are distinguished by the elegance of their execution.

In an effort to regain their former position, glass painters began to get carried away with extensive compositions, which, strictly speaking, contradict the basic rules of this type of art. At the same time, despite the fact that many works reveal a desire for naturalism, they are beautifully executed.

By the middle of the 16th century, non-translucent enamel paints began to be used, which made glass painting dull and fragile. Copies of oil paintings were often made on glass. processing glass decalcomania decoration

Monumental stained glass art flourished again in the 16th century, when stained glass windows began to be made for cathedrals in Paris, Rouen, Beauvais, Troyes - in France, cathedrals in the cities of Monsas and Gouda in the Netherlands, and the cathedral in Brussels in Belgium.

By the end of the century, stained glass art had fallen into decline; when making stained glass, artists limited themselves to copying oil paintings. Having received such brilliant development in the Middle Ages, this type of polychrome art flourished for many centuries only to lose its importance in the 17th century.

With the advent of new stylistic trends in European art - Baroque (late 16th - mid-18th centuries) and Rococo, or Rocaille (first half of the 18th century), a period of miserable vegetation began for glass painting. Baroque art, which replaced mannerism, which marked the collapse of Renaissance art, is characterized by the splendor of decorative forms and the synthesis of architecture with other types of fine art. The main objects of construction were palaces and churches. However, stained glass windows were almost not involved in the formation of solemn and richly colored Baroque interiors.

Rococo style interiors are characterized by stylized shell motifs, stucco cartouches, intricately curved ornaments, picturesque panels, and many mirrors. At this time, they fundamentally abandoned decorating windows with colored glass, although black and silver-yellow glass would not be dissonant with the overall decorative solution, but, on the contrary, could provide a harmonious completion of the interior.

At the end of the 19th and beginning of the 20th centuries, that is, after a long period of time, attention was again paid to stained glass art: they began to study examples of medieval painting on glass, establish stained glass workshops and create new examples of stained glass.

Not long before this, attempts were made to revive the art of stained glass by making copies of oil paintings on large glass sheets. Such paintings were created by the Sevres factory near Paris.

The range of artists who worked for stained glass or glass painting is unusually wide - from Renaissance masters to artists of decadent bourgeois art. The State Hermitage Museum in St. Petersburg houses stained glass windows created from the drawings of Bartholomeus Brain the Elder (1493-1555), of which three were made by Flemish-Burgundian masters in the first half of the 16th century and one by Nuremberg masters at the end of the 15th century.

Drawings for stained glass windows were also made by the Swiss painter Arnold Böcklin (1827-1901, cardboard for stained glass “Flora”) and modernists. Modernists of the early 20th century did not understand stained glass art. Their works are characterized by elaborate and broken patterns combined with thick, opaque glass. With them light hand the so-called “stained glass windows” were transferred to the glazing of furniture. The stained glass windows of the modernists bear the same stamp of lack of ideas as other forms of art, in particular architecture, but their primitivism is far-fetched and illogical, which is what differs from the truthful and logical primitivism of the stained glass masters of ancient eras.

Famous Polish artists Stanislaw Wyspiański (1869-1907), a student of the outstanding Polish painter Jan Matejko (1838-1893), and Józef Mehoffor (1869-1946), also worked in the field of stained glass. borders of the 19th and 20th centuries. Characteristic of Wyspiański’s multifaceted creativity are: folk motives combined with modernist stylization, symbolism. The name of Mehoffer is closely connected with the name of Wyspiansky, thanks to the well-known commonality in the artistic direction of their work and joint work over stained glass windows and paintings for St. Mary's Church in Krakow. Wyspiansky in 1896-1906 created designs for stained glass windows with images of St. Francis, Blessed Salome and the silhouette of God the Father for the Franciscan Church in Krakow. The stained glass windows created from them are distinguished by great emotional power and are considered the most outstanding works of stained glass art in Poland. He also created very expressive cardboard stained glass windows for Wawel (originally a fortified castle, then a royal palace) in Krakow with symbolic figures of Casimir the Great, Henry the Pious and Bishop Stanislaw Szczepannowski. In June-July 1958, Wyspiansky’s works were exhibited in Moscow at an exhibition called “Stanislav Wyspiansky and the artists of his time.” Among the works on display were drawings for stained glass: pencil sketches for stained glass cardboards for the Wawel Cathedral; Casimir the Great (performed in 1889), Vernigora (in 1900). Blessed Kinga (in 1900) and the project for the above-mentioned stained glass window “Blessed Salome” (1897) - all from the National Museum in Krakow. His drawings from works of French medieval art were also presented, including from a stained glass window in the Sainte-Chapelle church in Paris - the figure of a blessing saint (the drawing was made in 1889) and glass engravings from the National Museum in Krakow - “Girl with braids" (1902) and "Girl's Head" (1903).

Classic stained glass.

The method of making classical stained glass dates back to the Middle Ages. It was on its basis that other stained glass technologies later appeared. To make classic stained glass, pieces of colored glass are used. They are fastened together with lead, brass, copper, and aluminum fittings. The very first classical stained glass windows were made using a lead broach. The materials for their production are simple sheet glass, lead profile fittings or broaches.

There are several mandatory steps in the manufacture of stained glass using lead fittings. They include preparing the design, making fittings, cutting and processing glass. And, of course, the actual assembly of the stained glass window, when pieces of colored glass are connected together with a lead broach. Steklosfera company specialists note that the design obtained in this way does not differ sufficiently for modern conditions strength. Therefore, such stained glass windows are now produced extremely rarely.

Lead soldered stained glass is also made on the basis of a lead profile. The profile forms a pattern, and pieces of colored glass are sealed into it. Glass pieces the desired shape cut or cast according to templates. This technology allows you to connect large pieces of glass, so it can be used to make large stained glass windows. By varying the types of lead profiles, which can be of different thicknesses, both miniature and large-scale stained glass compositions are created.

The use of brass instead of lead in the manufacture of stained glass has significantly increased the strength of the products. But, being more durable than lead, brass is inferior to it in ductility. It is difficult to bend a brass profile. Therefore, brass stained glass windows have predominantly large geometric patterns correct form. It is distinguished by straight lines and large radius arcs.

The possibilities of technology and the creative thought of the workshop’s artists make it possible to combine stained glass with other types of art. The most common is a combination of stained glass and forging. Rigid but flexible lines of metal are expressively combined with artistic glass. The inserts of mirror fragments among multi-colored glass scatterings look impressive. In other cases, thanks to the inclusion of noble crystal, the stained glass window receives individual beauty and originality. Stained glass enhances the individual spirit of the room.

Glass painting.

The technology of lacquer stained glass or glass painting appeared in the 14th century. Today, instead of natural mineral-based paints, multi-component paints containing epoxy resin or acrylic are used for drawing on glass. Coloring pigments are metal oxides: manganese gives a violet color, copper and cobalt give blue tones, etc.

Process description:

A three-dimensional outline of the design is applied to the glass. It is usually black, gold, copper or silver. To accurately reproduce the pattern when transferring the pattern onto glass, use modern equipment, and the artist fills the stained glass window with paint manually using a brush or an airbrush (spray). After this, the product is fired in a kiln at a temperature of about 600 degrees Celsius. This treatment guarantees the strength and durability of the design.

Artistic painting on glass is used to create pseudo-stained glass windows and to decorate stained glass compositions made using other techniques.

In our time, painting on glass is of only secondary importance, although advances in technology make it possible to use such a wide range of fused colors that the ability to satisfy artistic requirements is much greater than before. The transparency of painted glass gives a special purity and strength to colorful tones, unattainable by any other painting technique, but the variety of tones and halftones and the possibility of a gradual transition between them in ordinary easel painting of paintings are so superior to the means of painting on glass that this latter cannot be placed along with real works of art.

K category: Glass works

Artistic glass processing

Glass and products made from it are subjected to artistic processing to give them decorative and finishing properties.

Sandblasting. A stream of sand and air under a pressure of 5-6 atm (10-1 MPa) is directed onto the surface of the glass, covered with a stencil or without a stencil. Sand hitting the surface of the glass peels it off. In this way, frosted, frosted glass is obtained.

Glass carving. By processing glass with abrasive grinders, grooves with a triangular cross-section deepened into its surface are obtained. Then the product is polished using a pumice emulsion or chemically, that is, by alternately immersing the product in a mixture of hydrofluoric and sulfuric acid and in water. The products obtained after such processing acquire the “game” of diamond. In this way, portraits, landscapes, patterns and any other thematic design are obtained on glass.

Painting with paints. The surface of the glass is painted with special low-melting silicate paints in the form of pencils, then the glass is fired, and the design seems to be fused to the glass.

Chemical processing of glass. Etching is the treatment of the glass surface with hydrofluoric acid. In order to etch a design on glass, it is covered with molten wax, paraffin OR asphalt varnish, leaving only those places that are to be etched uncovered. You can apply a protective layer using stencils. The glass is immersed in an acid bath for etching. Then it is taken out, the remaining acid is washed off with water and the protective layer is removed. With this treatment, a transparent in-depth pattern is etched (glossy etching). To obtain a matte pattern, the treated glass is exposed to hydrofluoric acid vapor or etched with a dilute solution of acidic ammonium or potassium fluoride salts. For small volumes of work, it is more convenient to use pastes consisting of a solution of an acidic salt of hydrofluoric acid mixed with heavy spar to the consistency of a semi-liquid dough.

Below is a description of some of the new types of glass.

Safety glass(Japan) remains unharmed even if he is hit hard with a hammer. This valuable property is given to it by a transparent film made of polymer material- nylon-12, sandwiched between sheets of glass. After special processing, the sheets are pressed, resulting in strong adhesion between the glass surface and the film. This glass can be given any shape. It is widely used in construction.

Sound-absorbing glass- window glass (consisting of several layers of glass located close to each other), developed by the Swedish company Emmaboda. It has high sound-absorbing and heat-insulating properties. A window frame made of such glass has a thickness of 33 mm and provides noise absorption, like a conventional frame with a thickness of 80-100 mm.

Solarpape (Finland)- glass coated with a thin layer of metal that reflects the sun's rays like a mirror. It softens the brightness of sunlight and creates a pleasant coolness, maintaining an even temperature in the room.

- Artistic glass processing

Glass and its properties. Raw materials for glass melting. Preparation of the charge Melnikov Ilya

Artistic glass processing. Glass and its properties. Raw materials for glass melting. Batch preparation

Glass products have entered human culture and everyday life since time immemorial. It is believed that the first glass products appeared more than six thousand years ago.

The first samples of glass were of natural origin: these are the so-called obsidians and storm glass. Obsidians are products of volcanic activity; When volcanoes erupt, magma with a temperature of 1000-1500 degrees C is released from the bowels of the earth. When the magma cools under favorable conditions, glass is formed. Storm glass, in turn, is obtained when lightning strikes sand. Where lightning passes through wet sand, an exceptionally high temperature is created and quartz glass is formed.

It is likely that the first glass samples were obtained by accident as a result of human activity. Most likely, a person’s first acquaintance with glass production is associated with the production of other materials that require processing at high temperatures - this is the smelting of metals, the manufacture of ceramic products. In those distant times, glass products were decorated using plastic molding methods, close to hand-sculpting techniques, and only centuries later molding methods suitable only for glass appeared.

The first samples of artificial glass were not very transparent and contained a large number of bubbles. They served mainly for making jewelry.

Various techniques for decorating glass were improved. One of the most ancient is glass painting. Then they tried to engrave the glass, process it using a sharpening machine with a rotating abrasive wheel: glass objects are decorated with edges and linear carvings - these techniques were most likely borrowed from stone processing.

The Middle Ages marked a stage in the development of glassmaking. In the Venetian state, glassblowers produced products for various purposes with an amazing variety of shapes, colors and designs. A little later, the fame of Venetian glassblowers was picked up by Czech craftsmen; The famous Bohemian crystal was created, and then the production of colorless glass, characterized by high hardness and strong shine, was mastered.

It should be noted that in Rus' glassmaking was developed back in the pre-Mongol period, which is evidenced, for example, by the fact that large glass workshops were found during excavations in Kyiv. The Mongol-Tatar yoke interrupted glass production in Rus'. Only several centuries later, in 1635, the first glass factory was built near the city of Mozhaisk. This was followed by a period of rapid growth in glass production in Russia. This is evidenced by wonderful examples of glassware that decorate numerous museums in Europe.

Subsequently, such methods of decoration as painting on glass, decorating with gold foil, and firing paints were developed. Closer to our time, they learned to decorate crystal products with diamond carvings.

Today's glassmakers - masters of decorative glass processing - use the traditions of the past and modern glass processing techniques. Along with mass production, there has always been and will be hand-made production, especially of highly artistic glass products. They decorate homes and public institutions, are exhibited in galleries, acquired by museums, and become the pride of collectors.

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Widely used in the glass industry artistic glass processing.

Glass has been a universal and irreplaceable material since ancient times. It is used not only for installing windows and doors, but also for the production of other materials. The composition of glass includes quartz sand, soda ash and dolomite. Quartz sand is obtained by crushing pure quartz or sieving.

The production technology also includes various stages of processing. To ensure that the glass is safe, its edges are processed. It is mandatory in all cases, except when it is inserted into window frames or doors.

There are also additional types processing. These include artistic glass processing. It can give glass a bright, more attractive aesthetic appearance, and also makes glass products more expressive.

Technologies for artistic glass processing

Everyone wants their home to be beautiful, cozy and comfortable. For this purpose, decorated glass and doors are often used in the interior.

The technology of artistic glass processing includes various methods and techniques.

They are:

chemical etching and matting;

film technologies;

painting with non-firing paints;

bevelling;

bending;

sandblasting.

Using the technique of chemical etching and matting, you can obtain a uniform or transparent pattern, which can have different thicknesses. This technology consists in the fact that hydrofluoric acid vapors, after interacting with glass, form insoluble salts. This process is used only for decorating expensive products, as it takes a very long time and is very labor-intensive.

The most economical artistic glass processing is film technology. In this case, a self-adhesive film is used, which is suitable for any type of glass and also has a natural appearance.

Three types of film are used for this process:

matte with silky surface;

matte with a rough surface;

matte film having the effect of sparkling glass.

Painting with varnish paints does not require fixing by annealing. However, this process is characterized by its fragility. The paint wears off quickly, especially if the glass is washed frequently.

To ensure that painting on glass lasts for a long time, silicate or mineral paints are used.

The bevelling method allows processing of glass edges with a straight curved surface.

The bevelling method is used only for float glass and consists of 4 stages:

rough grinding;

clean;

pre-polishing;

polishing

Bending gives the glass the desired shape due to the fact that it is heated to a state of softening. The process is mainly used for the production of dimensional materials.

Sandblasting artistic processing of glass consists in the fact that the product is processed with an air jet of sand. This allows you to obtain a three-dimensional image that has a relief structure.

Artistic glass processing at the exhibition

Will take place in June international exhibition"The World of Glass". It will take place at the Expocentre Fairgrounds, which is one of the best exhibition complexes.

Carrying out events of this kind has a significant impact on the development of the glass industry.

Exchange of experience and knowledge, as well as comparison of indicators at the international level, contribute to increasing production volumes and improving quality final products and concluding mutually beneficial agreements and contracts.

The development of the glass industry largely determines the development of other industries, as it largely supplies them with its products.

In addition, the introduction of new technologies and effective methods promotes scientific and technological progress.

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Introduction

1. Questions of history and theory of artistic glass processing

1.1 Historical stages of development and establishment of glass production and processing

1.2 History of the development of stained glass art

2. Artistic processing of glass and techniques for decorating it

2.1 Painting on glass

Conclusion

List of used literature

Introduction

One of the most ancient and still developing species artistic creativity- applied creativity.

The relevance of the applied type of activity lies in the fact that it is carried out in everyday objects created according to the laws of beauty. These are things made not only as useful, but also as beautiful, having their own style and their own artistic image, which expresses their purpose and carries generalized information about the type of life and worldview of the people and era. The aesthetic impact of applied art is daily, hourly, every minute. Things that surround and serve us, creating our everyday life and comfort, can rise to the heights of art.

Applied creativity is national in nature, it is born from the customs, habits, beliefs of the people and is directly close to their production activities, to his life.

Works of decorative and applied art reflect the cultural level of the people of a particular era. It not only helps people live, but also shapes their tastes: it sharpens artistic vision, develops a sense of color, and teaches them to understand the intent of a work and its imagery.

First and main feature decorative and applied art is reflected by the name itself - this art is of an applied nature. Unlike easel works, works decorative and applied art, as a rule, does not lose connection with its utilitarian function and fully reveals its artistic and figurative content only in interaction with the environment.

Bright decorativeness and emotional expressiveness of jewelry, interior details and other glass products made using a variety of artistic processing techniques of this material, makes them especially attractive in a modern interior.

This direction is very interesting due to the variety of its execution techniques and work methods. Such glass products take pride of place in our homes among other human creations because they are unique, original and inimitable.

Nowadays, development known technologies glass production is only the beginning of new promising quests for artists and designers in the field of art glass.

Relevance course work is that artistic glass processing is at the present stage a very popular type of decorative and applied art among professional artists and people passionate about artistic and decorative creativity.

The purpose of my work is to study the technologies of painting on glass, decalcomania, and decorating glass with photo printing.

To achieve the goal, I solved the following tasks:

Study the features of glassmaking and artistic glass processing from a historical perspective;

Consider modern trends and types of techniques for painting on glass, decals, decorating glass with photo printing;

Get acquainted with the options for using glass painting techniques, decalcomania, and decorating glass with photo printing in a modern interior;

Object of study: decorative and applied arts.

The theoretical significance of the study lies in the fact that the historical and modern features technician of painting on glass, decaling, decorating glass with photo printing.

The work consists of: introduction, two chapters, conclusion, list of references and appendix.

1 . Questions of history and theory of artistic glass processing

1.1 Historical stages of development and formationglass production and processing

Glass has been known to man for more than five thousand years. Scientists suggest that ancient potters were among the first to become acquainted with artificial glass: during firing, a mixture of soda and sand could get onto a clay product, and a glassy film-glaze would form on the surface of the product. According to another legend, the first people to become acquainted with glass were merchants traveling in a caravan through the Arabian desert. Among other goods, they transported soda, and, stopping for the night, they covered the fire with bags of soda so that the wind would not blow it out. Waking up in the morning, they were surprised to find that the soda... had turned into pieces of glass. Despite the possible amount of fiction - a legend is a legend - from the point of view of scientists, under a unique set of circumstances, something like this could well have happened: sand melts at a temperature of 1710 ° C, but when soda is added to it, the melting point decreases significantly (to 720 °C). Interestingly, in Mesopotamia, archaeologists discovered one of the oldest glass products - glass beads dating back to approximately 2450 BC. e., which, thanks to the manufacturing method, make this legend quite similar to the truth: the beads were stone-processed fragments of a large block of glass.

According to scientific research, the Egyptians and residents of the Middle East, who lived around the 3rd-4th millennium BC, were the first to learn how to make glass. e.. The first glass was boiled in pots over fires or in ovens, similar to how ordinary stew is cooked. The so-called charge was placed in the vessel - a powder from a mixture of sand, soda or ash, adding chalk, dolomite, and feldspar as impurities. The quality of the future glass - strength, transparency, color, chemical resistance - greatly depended on the quality and method of preparing the charge. For example, a mixture of sand and soda made it possible to obtain a not very transparent cloudy glass, soluble even in ordinary water, but when alumina was added to this composition, the thermal and chemical resistance, strength and hardness of the glass increased. The first glass that man learned to produce was opaque. The Egyptians often used it to imitate various stones - malachite, turquoise. The composition of glass was constantly changing; additional ingredients began to be introduced into it - oxides of lead and tin, and for coloring - compounds of manganese and cobalt. The ancient Egyptians knew two methods of processing glass: plastic molding and pressing, with which they first made only small products. Subsequently, when people figured out adding dyes to the three components (about 1200 BC), colored glass arose. At first it was mainly blue, turquoise or green, as it was made by adding copper and iron. At the beginning of our era, blue glass colored with cobalt also appeared in Egypt.

In those days, glass seemed to people a divine miracle: after all, it was born from earth and fire and gave it unique, contradictory properties: when molten it was soft, plastic and transparent, and when it solidified, it became hard and with a smooth and shiny surface... It is not surprising that in In ancient times, glass was often valued higher than its native metals - gold and silver, and the ability to make it was considered a real art.

Methods of working with glass were constantly improved. Literary sources claim that during excavations of the cities of Ancient Italy, Pompeii and Herculaneum, which died in 79 AD. e. During the eruption of Vesuvius, colored glass, mosaic floors, wall paintings and fragments of stained glass, as well as pieces of frosted glass, were discovered.

At the turn of our era, fundamental changes occurred in glassmaking technology: colorless glass and products made by blowing appeared. In the 1st century AD, a glass blowing tube was invented, with which it became possible to create simple dishes. In the V-VII centuries. In Europe, glassmaking reached its greatest development. Byzantium gradually became the center of world glassmaking, where craftsmen learned to create not only beautiful vessels, but also smalt - small pieces of colored opaque glass from which they made mosaics.

At the beginning of the 13th century. The important secrets of the craft fell into the hands of Venetian glassmakers, thanks to priceless samples of Oriental glass brought from Constantinople. From this time on, the glass industry in Venice began to develop faster.

At the end of the 13th century. glass melting furnaces were moved from the territory of Venice beyond the city limits, to the small island of Murano. There the famous “Murano” glass arose. The products of craftsmen from the island of Murano gained great popularity very quickly. Already in the 15th century, Murano glass was extremely highly valued throughout Europe, and the Venetian doges even offered Murano glass - real works of art - as precious gifts to important people visiting the city.

In the 16th century, Murano glass gained worldwide fame, which, by the way, has remained with it to this day. Works by Italian artists of that time have survived to this day, depicting Venetian glassware: the vessels amaze with their weightlessness, purity and transparency, and one can only admire the artistic ingenuity of Murano glassmakers. They created drinking vessels in the form of birds, whales, newts and lions, bell towers and barrels, small glass ships, which can now be seen in Western European museums. Transparent glass, colorless and colored, was decorated with rosettes, masks, convexities in the form of drops and bubbles; the edges of the vessels were made wavy and curved and decorated with bird and animal tails, paws, wings...

Venetian craftsmen produced decorative vessels and other artistic glass products of a wide variety of shapes and techniques, painted with enamels, covered with gilding, decorated with a pattern of cracks (crackle) and glass threads. At the same time, in the 16th century. glass production began to develop in Spain, Portugal, the Netherlands, then in France, England, Germany, and, unfortunately, in the 17th century. the fashion for delicate Venetian products began to fade, giving way to heavy cut glass from Bohemia and Silesia.

IN early XVII V. In France, a new method of creating glass products began to be used - casting mirror glass on copper plates with subsequent rolling. Around this time, a method of treating glass by etching (using a mixture of fluorspar and sulfuric acid) was discovered; The production of window and optical glass began to develop.

Meanwhile, tragic days came for the famous glass from Murano: at the turn of the 17th and 18th centuries, a few years after the occupation of the island by French revolutionary troops, all glassmaking workshops on the island were destroyed. The Venetian glass industry began to revive only in the middle of the 19th century, when a certain lawyer Antonio Salviati, with the financial support of two Englishmen, great admirers of Venetian antiquity, again founded a factory in Murano. The production of magnificent glass products in imitation of the great examples of the past resumed.

And in Rus', glassmaking was at a great height, starting from antiquity. However, the first glass factory in Russia was established only in 1635, near Moscow, by the Swede Elisha Kokht. This year is considered the founding date of Russian glassmaking. At the end of the fifteen-year privilege given to Kokht, several more glass factories of other entrepreneurs appeared near Moscow, but due to the lack of proper support and encouragement, all these undertakings were not particularly successful, and further development: Russia did not start glassmaking at that time. The revival of this business came only at the beginning of the 18th century, when Tsar Peter the Great introduced various incentive measures, and Russians for the first time began to be sent abroad to study glassmaking. In addition, at the same time, Peter the Great established two state-owned glass factories near Moscow and in the Yamburg district of the St. Petersburg province and hired German craftsmen for them. From that time on, and especially from the second half of the 18th century, the development of Russian glassmaking took on a constant character.

In the 18th century In Russia, painted items made of milky white or opal glass became widespread. Various motifs were applied to them with enamel, in most cases floral, but there were also plot paintings. And at the turn of the 17th-19th centuries. Products made of lead crystal with a diamond cut, which were produced by the St. Petersburg Glass Factory, also began to become popular. It was not only amazing crystal dishes, but also vases, various lamps, and decorations.

In 1902, Emil Fourcaud developed a method for machine drawing glass. The glass was drawn from the glass furnace in the form of a continuous strip through rolling rolls and entered a cooling shaft, where it was cut into individual sheets. In 1959, Pilkington developed a different glass manufacturing method, the so-called float method. In this process, glass flows from the melting furnace in a horizontal plane, in the form of a flat strip, through a bath of molten tin for further cooling and annealing.

This method had a number of advantages. The glass had no optical defects and had a stable thickness and surface High Quality, requiring no further polishing. In addition, this method made it possible to impart some necessary properties to glass at the stage of its production.

In the 21st century, the production of glass objects - from dishes to mirrors - is carried out using the same three main methods: blowing, casting and pressing. The greatest development of the high craft of glassmakers was in object design: after all, the plastic, color, technological and texture possibilities of glass are truly limitless and allow the most daring author’s idea to be brilliantly realized. And ancient motifs serve as a source of inspiration for many of the world's leading furniture and design firms. Today, glass appears not only in its usual role (lamps, chandeliers, numerous accessories), but also in a very unusual role: door and window handles, curtain rod ends, switches and other interior details are made from it.

So, we have given historical information about the time of the emergence of glass, about ancient processing methods, people who promoted the art of glass making, about the quality of the first glass, when the manufacturing technology arose, how the products were decorated. Glass has been known to people since ancient times. In addition, the unique properties of this material allow it to remain a very popular material that people use both in Everyday life, and in the most complex modern devices.

1. 2 ANDstoryI develop stained glass art

“Stained glass is a transparent partition between my heart and the core of the universeAndI»

Marc Chagall

It is difficult to say when the first stained glass windows were created. In any case, there is no reason to claim that they appeared soon after the invention of glass. It is only known that mosaics made of small plates of colored glass were discovered in ancient Rome during the empire (first century BC - early AD) and in the temples of the first Christians. Windows of the St. Sophia Cathedral in Constantinople, which became the capital of Byzantium in 330 AD. e., were glazed with colored glass, apparently soon after the construction of the cathedral.

According to some literary sources, it is known that during excavations of the cities of ancient Italy Pompeii and Herculaneum, which died in 79 AD. e. During the eruption of Vesuvius, colored glass mosaic floors, wall paintings and fragments of stained glass were discovered. According to other sources, only glass mosaics of floors and walls were discovered in Pompeii, since there were few windows in the houses and even then for the most part without glass. But the use of window glass is confirmed by pieces of frosted or, perhaps, opaque glass found during excavations.

Colored glazing of windows was originally a glass mosaic inserted into stone and wooden openings - window traceries. Then a mosaic of colored glass appeared, cut and assembled in a lead frame in the form of a pattern, geometric or floral design. Such mosaics were assembled in a metal frame and installed in window openings. It is very likely that the colors used in large windows were intense and bright, while in small windows pale and calm colors were used.

Based on the study of the oldest cultural monuments, it can be assumed that lead reinforcement developed from stone and wooden mesh. The first reliable information about the use of lead soldering dates back to the 10th-11th centuries. This was a major technical achievement.

The use of colored glass to decorate windows began from the time when Christianity became the official state religion in the Roman Empire (at the end of the 4th century AD) and vigorous construction began. Christianity conducted services according to its own canons and rituals, different from the rituals of other, early religions. In accordance with this, new requirements were imposed on the plan, facade and interior of the temple, and other requirements were applied. Construction Materials, including glass. Temples Ancient Greece. Ancient Rome and other previous eras were built in most cases from marble. They were windowless, and there was no window glass. The cultural peoples of Christianity necessarily decorated the facades and interiors of churches with colored glass.

In the V-VI centuries AD. e. mosaics made of colored glass decorated the windows of churches in different cities of Gaul, from where this art penetrated into German cities and other countries.

Colored glazing gradually formed a special branch of decorative art and became equal among other branches and types of art.

In the Arab art of the times of the Caliphate, which began to take shape long before Islam and in the formation of which many other peoples subordinate to it took part, glass mosaics were also used. Colored glass was inserted into window traceries - ornamented wooden or stone frames. This technique became a tradition and lasted for hundreds of years. In Central Asia and the countries of the Middle East, they made patterned window grilles - panjara, the gaps of which were filled with colored glass. Panjaras, carved from ganch and made of wood, were distinguished by the elegance of their design, beauty and variety of geometric patterns. Such gratings, in most cases with multi-colored glass, called shebeke, were widely used in Azerbaijan in the construction of residential buildings, palaces and temples in the 18th and 19th centuries.

In Cairo (Egypt), mosques have preserved from ancient times (from the first millennium AD) exceptionally beautiful ornamental openwork grilles for windows, which probably served as models for stained glass windows of later origin.

2. Artistic processing of glass and techniques for its decoration

2.1 Painting on glass

Over time, the requirements for glass mosaic designs have increased. We tried to shade colored glass by applying darker colors. The results were positive. The technique of coloring glass by firing was discovered in the 9th century. This new technique has found widespread use. Thus, glass painting arose and developed at the end of the 10th century. With the development of glass painting, glass mosaic began to fade into the background, but it was not completely supplanted, but continued to exist in combination with glass painting.

To make stained glass with human figures, lead and black paint were used, although the latter is optional.

The main art form of this era was architecture. At this time, colossal cathedrals with tall towers that had cult and social significance, city halls, feudal castles, luxurious mansion houses, market buildings and much more were built. The design features of Gothic buildings did not require massive walls, and the external spaces between the pillars-buttresses were filled with huge lancet windows. These windows were decorated with stained glass, which by this time were already distinguished by a high artistic level. Their quality was influenced by the development of painting in general and glass painting in particular. The appearance of new colors enriched the palettes of artists; it was now possible to convey subtle color nuances, chiaroscuro, and painting became extremely expressive. Stained glass painting became more complex, the colors had amazing beauty. Huge window spaces made it possible to use large painted glass. They were not fastened with lead reinforcement, but were fixed directly in the window sashes. In this era, close collaboration between the architect and the glass painter became absolutely necessary, with the architect taking the lead. The general character and composition of glass painting is in complete agreement and combination with the architecture of the building. The mysticism of the early Middle Ages gave stained glass an expressive power of enormous power. This is the period of the highest flowering of stained glass. In the 15th century, glass painting was already competing with wall painting. Technology at this time makes glass as convenient a material as canvas, since lead mesh is used less frequently and glass sizes become larger. In the 16th century, copies of works by great masters appeared on window glass.

In architectural forms, Gothic portals, roofs, and canopies were common, under which individual figures, and later entire groups, were depicted.

At the end of the Middle Ages, figures in glass painting ceased to be conventional, the abstract turned into concrete, real. The movements of the figures are less constrained, more dynamic, the drapery of the clothes becomes richer. The emotional experiences of the characters depicted are expressed with great force, and the touching moments of the narrative are conveyed with incomprehensible virtuosity. Glass painting never again reached such a high artistic level. But from this time on, the decline of stained glass art began, and with it, monumental painting on glass also died out. True, the technique of execution and design continued to improve, but the use of stained glass narrowed as the Renaissance made new demands on architecture. The architect strives to ensure that the interior space of the building clearly appears before the viewer, so that there is more light in it.

In the Middle Ages, when, under the influence of feudal and church rule, home decoration was of a very modest, ascetic nature, decorations made of colored glass were hardly appropriate.

Not long before this, attempts were made to revive the art of stained glass by making copies of oil paintings on large glass sheets. Such paintings were created by the Sevres factory near Paris.

Drawings for stained glass windows were also made by the Swiss painter Arnold Böcklin (1827-1901, cardboard for stained glass “Flora”) and modernists. Modernists of the early 20th century did not understand stained glass art. Their works are characterized by elaborate and broken patterns combined with thick, opaque glass. With their light hand, the so-called “stained glass windows” were transferred to the glazing of furniture. The stained glass windows of the modernists bear the same stamp of lack of ideas as other forms of art, in particular architecture, but their primitivism is far-fetched and illogical, which is what differs from the truthful and logical primitivism of the stained glass masters of ancient eras.

Famous Polish artists Stanislaw Wyspiański (1869-1907), a student of the outstanding Polish painter Jan Matejko (1838-1893), and Józef Mehoffor (1869-1946), also worked in the field of stained glass. borders of the 19th and 20th centuries. Wyspianski's multifaceted creativity is characterized by folk motifs combined with modernist stylization and symbolism. Mehoffer's name is closely connected with the name of Wyspiański, due to the well-known commonality in the artistic direction of their work and joint work on stained glass windows and paintings for St. Mary's Church in Krakow. Wyspiansky in 1896-1906 created designs for stained glass windows with images of St. Francis, Blessed Salome and the silhouette of God the Father for the Franciscan Church in Krakow. The stained glass windows created from them are distinguished by great emotional power and are considered the most outstanding works of stained glass art in Poland. He also created very expressive cardboard stained glass windows for Wawel (originally a fortified castle, then a royal palace) in Krakow with symbolic figures of Casimir the Great, Henry the Pious and Bishop Stanislaw Szczepannowski. In June-July 1958, Wyspiansky’s works were exhibited in Moscow at an exhibition called “Stanislav Wyspiansky and the artists of his time.” Among the works on display were drawings for stained glass: pencil sketches for stained glass cardboards for the Wawel Cathedral; Casimir the Great (performed in 1889), Vernigora (in 1900). Blessed Kinga (in 1900) and the project for the above-mentioned stained glass window “Blessed Salome” (1897) - all from the National Museum in Krakow. His drawings from works of French medieval art were also presented, including from a stained glass window in the Sainte-Chapelle church in Paris - the figure of a blessing saint (the drawing was made in 1889) and glass engravings from the National Museum in Krakow - “Girl with braids" (1902) and "Girl's Head" (1903).

Classic stained glass.

There are several mandatory steps in the manufacture of stained glass using lead fittings. They include preparing the design, making fittings, cutting and processing glass. And, of course, the actual assembly of the stained glass window, when pieces of colored glass are connected together with a lead broach. Steklosfera company specialists note that the structure obtained in this way is not strong enough for modern conditions. Therefore, such stained glass windows are now produced extremely rarely.

Lead soldered stained glass is also made on the basis of a lead profile. The profile forms a pattern, and pieces of colored glass are sealed into it. Glass pieces of the desired shape are cut or cast according to templates. This technology allows you to connect large pieces of glass, so it can be used to make large stained glass windows. By varying the types of lead profiles, which can be of different thicknesses, both miniature and large-scale stained glass compositions are created.

The use of brass instead of lead in the manufacture of stained glass has significantly increased the strength of the products. But, being more durable than lead, brass is inferior to it in ductility. It is difficult to bend a brass profile. Therefore, brass stained glass windows have predominantly large geometric patterns of regular shape. It is distinguished by straight lines and large radius arcs.

Glass painting.

Process description:

A three-dimensional outline of the design is applied to the glass. It is usually black, gold, copper or silver. To accurately reproduce the pattern, modern equipment is used when transferring the design onto glass, and the artist fills the stained glass window with paint manually using a brush or an airbrush (spray). After this, the product is fired in a kiln at a temperature of about 600 degrees Celsius. This treatment guarantees the strength and durability of the design.

Artistic painting on glass is used to create pseudo-stained glass windows and to decorate stained glass compositions made using other techniques.

2.2 Decalcomania

The word “decalcomania” itself does not have an exact translation, as it is collected from Latin, French and Greek. Literally, decalcomania can be translated as: the ability to accurately translate.

Decalcomania is a fairly old technology - it is already more than 100 years old. It was invented in Russia at the end of the 19th century, and is successfully used to this day.

The main disadvantage of decals is that, just like 100 years ago, the image is transferred to the surface manually, which does not prevent it from being used everywhere. this technology. The main consumers of decals are tableware factories. Decalcomania is used in porcelain, earthenware factories, factories producing enameled and glassware. Decalcomania is also used to decorate cars, bicycles, cell phones, and many other materials where it is necessary to obtain multicolor images on uneven surfaces. Decals are used to decorate glass, porcelain, metal, wood, plastic, and various ceramic products.

What is a decal?

Decals are decals printed using special stencils on sheets of gummed paper with special inks and secured with a varnish surface. When such a sheet is immersed in water, the varnish stain and the paint attached to its reverse side “moves away” from the gummed paper and the ready-to-use “transfer” is applied to the object being decorated. After which this item is placed in the oven and heated to the required temperature. At high temperatures, the varnish film burns, and the paint underneath is baked into the surface of the product. The uniformity of the resulting surface allows you to use your favorite mug, which was presented for your birthday, for every year, without fear that it will lose color or the image will be erased.

The process of decoration using decals is also called decaling. It is widely used in porcelain, glass, metallurgical factories, and enterprises that manufacture tableware. The main advantage, and at the same time the disadvantage of decaling technology, is that applying pictures to various surfaces is only possible manually, which significantly affects the cost and quantity of products produced. In the last decade, decal technology has become widespread in the production of souvenirs. Today it is difficult to imagine an office without mugs with a company logo, or a glass of beer in a bar without a brewery logo.

Decal, as a technology for decorating various surfaces, has many advantages and disadvantages compared to other methods of applying the information or image you need to a particular surface. The main disadvantages include the following:

Expensive and labor-intensive pre-press preparation;

Usage manual labor in the process of decaling;

A large percentage of defects associated with the use of manual labor;

Inability to 100% comply with the required colors;

The complexity and labor intensity of the decal printing process;

But at the same time, the decal also has incomparably important advantages:

Possibility to decorate surfaces of various shapes;

Possibility to decorate piece products;

A variety of different technologies and printing methods;

Colorfulness and durability of the applied image;

Possibility to decorate with precious metal preparations;

Long shelf life of printed decals up to 10 years, subject to storage rules;

Decalcomania is the most widespread type decoration products and is a printing method for producing large-circulation transfers such as children's decals, intended for transferring drawings from paper to the surface of products or sticking a drawing onto the surface of an object. Based on the method of production and use, there are two main types of decalcomania:

1. Regular decalcomania, or decals, made on the basis of aniline (organic) and mineral paints;

used for transferring drawings onto paper, wood, metal, glass and other objects without additional fastening.

2. Ceramic decalcomanium made from special heat-resistant ceramic paints; used for artistic decoration of porcelain, earthenware/glass and other ceramic materials, as well as for metal enameled products by transferring the printed design from paper to the product with subsequent fixation of these paints by firing at 720-850°C or 540-560°C (for glass ) in a weakly oxidizing environment.

For printing transfer designs, so-called gummed - unglued paper, called base, is used. One side of such paper is covered with a thin layer of glue consisting of starch, molasses, and doctrine. This layer is designed to protect the base from penetration of paint into the thickness of the paper and freely separate the design from the paper when applied to the product. The glue is applied to the paper in an even layer using a special gumming machine. When transferring designs onto products, the glue applied to the paper must completely dissolve in water and separate well from the paper when it is wetted with water. The paper is presented high requirements according to GOST 6291-52. Paper must be stored in closed, dry areas. Before applying the design, the paper is “acclimatized” in the printing shop for 3-4 days, otherwise during multicolor printing there may be a mismatch of colors in the drawings due to unequal humidity of the paper and the air in the workshop.

For printing decalcomania they use natural drying oils, the best raw material for which is pure vegetable linseed oil. Drying oils are boiled in special porcelain cauldrons at a temperature of about 300°C without access to air. To speed up the drying time of paints, additives are introduced into the drying oil that accelerate drying in the form of driers, for example: lead, cobalt and other salts of fatty acids, which are catalysts for accelerating the drying of the drying oil. Special ceramic inks are used for printing ceramic decals.

The hardening temperature of these paints on products is almost no different from the hardening of paints applied to products by other methods.

Depending on the printing method of decalcomania, there are 2 ways to prepare ceramic inks. The first is to prepare inks for printing from a roller, or the “rolling” method. Paints for this purpose are prepared using weak drying oils, and dry paints together with drying oil are ground on a special paint grinder. The amount of drying oil is 30-70% of the paint weight. Inks for roller printing must not only match the tone or color of the design, but also withstand sufficient temperatures during firing.

Using a special leather-covered roller, paint is applied to the surface of the lithographic stone, but traces of it remain only in those places where ink was previously applied. In this way, all colors of paints are applied to stones. The final operation of obtaining and fixing a drawing on paper is to cover the entire drawing on top with a layer of drying oil. The drawings obtained by rolling from a shaft are somewhat pale, but fully meet the technical conditions.

The second method of preparing paints for printing decalcomania is the “powder” method, which involves processing powdered paint. To reduce dust formation and give the paint greater coverage, “powder” paints are treated with a 5% solution oleic acid in petroleum jelly with lead ground in aviation gasoline or resinate. Paints treated with Vaseline oil are dried at a temperature of 40-60°C.

Among the methods of applying images to souvenirs you can list pad and direct screen printing, hand painting and engraving, laser engraving, thermal transfer. They do not compete with each other, since they have different possibilities by price, production time, image size and quality. But in terms of durability, circulation, and quality of tableware decoration, decals are superior to all other methods. Accordingly, it is more expensive than others. Application corporate logo- the simplest image that can be obtained using decals. On a mug, the picture can be on one side, on both sides, a panorama around the circumference, even on the handle and on inner surface subject. An exquisite gift is obtained if the dishes are decorated with noble metals, such as gold.

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