Lamps, there are countless of them. On the one hand, it’s a purely utilitarian object – “electric light continues our day” and all that kind of stuff; on the other hand, it’s a spectacular interior detail that involuntarily attracts attention. It is no coincidence that any lamps are a worthy application of the efforts, so to speak, of designers and fertile ground for implementation creative ideas. A naked light bulb on a wire is not very inspiring, except for those who support the decoration of premises in the spirit of “bastard renovation”, a kind of punk, you know - walls made of unplastered brick, partitions made of mesh. In other, more common cases, light bulbs as a light source are somewhat cultivated. It is customary to provide them with lampshades - some kind of structure that properly distributes and directs the light, for example, directing work surface preventing contact with eyes. Keeping such lamps near you is much more pleasant - there is no feeling of an operating room or an interrogation room. Yes, in large “general lighting” lamps, some kind of light diffuser is often used - as a rule, this is a lot glass elements- an Indian from the Mumba-Yumba tribe becomes numb. Generally speaking, for lampshades in particular and for the design of lamps in general, no matter what materials are used, but, perhaps, it is glass that simply suggests itself, due to some of its properties. Transparency comes first. Using it skillfully, you can create very worthy gizmos.

Since glass was mentioned for the design of lamps, one cannot help but recall such an area of ​​​​being as stained glass. There are several techniques for making stained glass, we are, of course, talking about glass, and not about crafts made from colored adhesive film, which are simply a profanation of the very idea of ​​​​stained glass. Yes, well, there is, among other things, a technique for making stained glass that is quite suitable for relatively small products with quite complex curved edges on the mating glasses. The work can be done in a rather complex form. All this makes it possible to do beautiful lampshades– stained glass windows. The technique itself is called “Tiffany”, after the name of the person who invented it, and is now quite popular.

Generally speaking, the process consists of creating a stained glass pattern - “cardboard”. Outlines individual elements are transferred to the corresponding glass colors and cut out relatively roughly with a glass cutter. Afterwards, the edges of the glass are ground and adjusted to each other on a special sanding machine with diamond tools. Then, the edges of the glass are covered with thin copper foil with sticky layer, the glass is folded into a pattern and soldered. Essentially everything.

Generally speaking, any stained glass window looks best in transmitted light - when the light source is behind it and in this sense, use it (stained glass) as a lampshade, great idea. When using Tiffany stained glass technology, the form finished product can be quite bizarre, but getting a hemisphere or a shape close to it of more or less normal dimensions is not at all difficult. You just have to take care in advance of a form convenient for work. There are several more common forms of stained glass type lampshades (lamp designs), with somewhat simplified forms, which nevertheless allow one to evaluate the merits of the idea. Moreover, such simplified lamps can have undoubted advantages, for example, a picture lamp is located simply on the wall, occupying a minimum of space; finally, it is very original.

Venerable masters do not disdain such lamps either; for example, at the exhibition of the Japanese master Ichiro Tashiro, such lamps occupy a fair part of the exhibition.

The first experiments in stained glass should begin with flat design because of its extreme simplicity.

What was used in the work.

Tools, equipment.
When making stained glass, you cannot do without some special tools - the main and most expensive of which is with accessories. You will also need special tools -,. It is convenient to cut out stained glass elements with a special glass cutter for curved cuts - its head is much narrower, and it is more convenient to use. This also includes a good thin felt-tip pen that draws on glass with a thin rod; it is important that its mark is not washed off with water (using a grinding machine). From ordinary tools, you will need scissors; to sweep away the glass crumbs formed when cutting and biting glass, a wide paint brush with tin box. I needed access to a computer with a color printer. To fix the finished glass elements, small nails or tailor's pins were useful. Tiffany stained glass technology involves a lot of soldering - you will need a fairly powerful soldering iron 60...100 W with accessories, preferably equipped with at least a simple temperature regulator from a series-connected dimmer. Brush for applying flux. Care should be taken good lighting workplace - a pair of table lamps will come in handy.

Materials.
In addition to the colored glass itself, you needed a piece of thick plywood or chipboard - slightly larger than the dimensions of the future stained glass window, and pieces of linoleum of the same size - a soft base into which it is convenient to stick pins. Thin “sausage” polyethylene came in handy. Scotch tape, special copper foil with an adhesive layer. Solder, acid flux, chemicals for creating a patina of the desired color, as well as some special ones for stained glass. A solvent such as acetone or alcohol, or “steel wool,” may be useful. Cotton rags. Four slats with small nails for the “border” of the future stained glass window.

As a matter of fact, everything starts with a sketch of a stained glass design and is drawn into “cardboard”. This is a ready-made sketch, life-size, from which glass is drawn, sculpted, or cut out. To be used as a stained glass window, the design must meet some specific requirements - its parts should not be too complex or too thin. Otherwise they will be difficult to cut and fit. It is better to break large and complex fragments into several simple ones, but without fanaticism. Stained glass drawing is difficult to do with very finely detailed details; here you need to either use a mixed technique, for example, combine it with glass painting or “fusing” - fusing colored glass in a stove. IN general case, with a rather crude stylization, you have to put up with. However, this kind of sketches can also be quite expressive.

I ordered colored stained glass together with some specific stained glass materials (chemicals, copper foil) from special friends who sell this kind of thing. As a rule, they sell broken pieces of stained glass; for small jobs, it is more convenient to order them.

The drawing was photographed for digitization. Now, if necessary, it can be printed in any quantity and in any reasonable size - my printer prints in A4 format, so I had to use the “poster” printing mode - the drawing is divided into several sheets.

From one of the printed drawings I cut out templates - the outlines of future elements. By the way, the boundary lines between the elements should be clear, but as thin as possible; this will give a minimum error when marking the elements on the glass and when processing the glass, the edges of the elements will have to be ground less.

As a flat base, I used a piece of plywood with two layers of linoleum on top of it. If the size of the stained glass window is no matter how significant, it is better to take a base that is even and harder - chipboard, for example. Linoleum bedding is amazingly good for sticking pins in; they hold quite firmly and are quite easy to stick in. You will have to stick them in a lot, so this is an important moment.

On top of the linoleum, I laid a printed drawing - “cardboard” and to protect it from water drops, wrapped it with “sausage” polyethylene - when adjusting the glass elements, they are ground on a machine with a diamond tool washed with water, and wet glass has to be applied to the drawing - the ink of an inkjet printer blurs . By the way, this is why a felt-tip pen for drawing on glass should also be waterproof.

In general, the main process looked like this - I cut out several fragments from the “cardboard” printout so as not to get confused, the fragments were logically connected - petals, parts of a leaf, etc. Before cutting, each fragment was numbered and this number was transferred to the overall drawing. The future stained glass window is assembled with wrong side, that is, on a colored piece of glass located facing the “operator” we turn over the templates reverse side. We outline the template with an alcohol-based permanent marker, number it, and cut it out. The photo shows a regular roller glass cutter with oil supply. From a hardware store. It is not very convenient to cut curves for them, but it is possible. Then I got a special glass cutter with a narrow head and it became more fun.

Greetings to all needlewomen and craftsmen) Do you want to know how to make an original lampshade without any cutting, fitting or polishing of glass? Then come in) I suggest you create a stylish lampshade in the Tiffany style from colored glass. I post it below detailed photo a master class from which you will understand that everything is not as complicated as it seems at first glance. Good luck)

A small digression from creating a lampshade for those who would like to. I invite you to visit the Comfort online store, here you can purchase air conditioners, humidifiers and air purifiers, split systems, chillers, mobile air conditioners, air curtains, water coolers and much more from the best manufacturers, of which: Daikin, Mitsubishi H.I., Toshiba, Panasonic, Samsung, LG, Mitsushito, Hitachi, Cooper&Hunter.

For work you will need ready-made pieces of glass - cabochons. A cabochon is a way of processing a glass or stone product when the underside is flat and the outer side is convex and smooth. They are usually round in shape. Such pieces of glass are sold in departments of goods for decoration. They come in different colors, with inclusions, with pearlescent coating, transparent and colorless. Diameter from 10 to 25mm.

We will fasten them using soldering with tin-lead solder using the technology first proposed by Lewis Tiffany in 1885. The essence of the Tiffany technique is as follows: the pieces of glass are edged with copper foil, tinned and soldered together at the ends. Copper foil - foil is sold in rolls of 30 meters and comes in different widths: from 3 to 15 mm. A foil 5-6mm wide is suitable for us. The inside of the folio is covered with a layer of adhesive and protected with thin paper.

Separating protective film With the adhesive side facing the glass, you need to carefully wrap the cabochon along the end, overlapping the ends of the foil by 3-5 mm.

Press the foil tightly with your fingers and smooth out any wrinkles with a wooden stick.

Then the foil must be tinned, i.e. create a tin edging to firmly hold the cabochon inside.
It is better to use modern soldering gels as a flux. They are less toxic to humans and are easily washed off with water. The solder should have a higher tin content as it is more durable. The fact is that, unlike ordinary stained glass, we will not solder the glass along the entire perimeter, but only at individual points of contact between the parts, which requires increased mechanical strength.

To save electricity, I purchased a special economical 18-watt light bulb. It shines like a 75-watt incandescent lamp and barely gets hot. Next, about how to make a template mold for the size of the lampshade...
Connecting glass to each other, giving the finished product the necessary shape, you must admit, without some kind of support base is not an easy task. The old lampshade of my lamp had a rounded shape, which, in my opinion, was the only acceptable shape for this lamp design. The top of a regular balloon has approximately the same shape. I used this to prepare the template.

Having inflated the ball to a diameter slightly larger than the lower base of the lampshade mount, I placed it in a plastic bucket for fixation.
Using the papier-mâché method, a durable cardboard cast was obtained. In this case, I did not use crumbled paper pulp, but covered the surface with pieces of old newspaper, layer by layer.

The last layer was made of white paper to give it an aesthetic appearance :) After drying, all that was left was to take everything out of the bucket and lower the ball.

The form is ready. You can start soldering... I didn't make any markings, I picked up the cabochons as I went along.

It is advisable to complete at least half of the work at one time, or better yet, all of it :) Then you will have the opportunity to remove the product from the base without the threat of breaking and wash off the remaining flux. flux left on the solder long time, the surface begins to corrode.
It is also important to properly solder all joints and inner surface lampshade. Without this operation, you will not achieve the required mechanical strength of the product.

Also with inside solder copper wire to provide additional rigidity and fastening to the luminaire fittings. Over time, under the influence environment, the shiny tin will fade. You can give the original shine by washing the lampshade with a metal cleaner. You can immediately cover all solderings with a tinting solution - patina. Patina is sold as a ready-made solution. If there is no opportunity or desire to buy patina, then you can rub all tinned parts with a saturated solution copper sulfate, wash, dry and polish with felt until copper shine. Which is also very beautiful.

My lamp was left unfinished. I planned to insert colored balls into the centers of the “flowers”, but we don’t have the right size for sale yet..

Each Odyssey system kit includes a template on which numbers, letters and arrows indicate the direction of the glass, leaves, bud or border, etc., which helps and facilitates the assembly stage. Each form of the Odyssey system is assigned a number. At the beginning of the number, the letter "T" indicates that the design of this shape is an exact copy of Tiffany. The letter "N" indicates more modern design. We don't know what the letter "S" stands for, but the shape S121 - "Blooming Chestnut" - is a bestseller since Tiffany's time!

The kit includes cardboard - durable and not afraid of water. It may be colored to help identify what the individual parts of the design are.
The Odyssey molds are supplied without cables, crowns, caps and old rings.

The “Odyssey” system is always made with high quality, the legs (bases) are cast from solid brass, patinated with copper, and also have a natural green, brown coating. The patterns for these bases were taken from the original Tiffany designs. The integrity of the originals made it possible to transfer everything to the smallest detail onto a copy.

download CATALOG - shape for lampshade d: 11.5cm - 38.1cm

downloadCATALOG - shape for lampshade d: 40.6cm

downloadCATALOG - shape for lampshade d: 45.7cm

downloadCATALOG - shape for lampshade d: 50.8cm

downloadCATALOG - shape for lampshade d: 55.8cm

downloadCATALOG - shape for lampshade d: 61cm - 71cm

downloadPRICE Forms OdysseusPrice on request!

downloadPRICE - Cardboard - Template Price on request!

Forms "Worden Systems"

L a lightweight and durable form for creating a Tiffany lamp from a unique material that is used as packaging and even electrical insulating material, polystyrene foam.

It is non-toxic material, lightweight and durable.

Per new polystyrene foam ol was manufactured in France in 1928. Expanded polystyrene is a material consisting of fine-cell granules sintered together. The main advantage when working is the use of pins to secure your sketch directly to the form.

Molded polystyrene foam molds are ideal for designing and assembling Tiffany lamps.

download INSTRUCTIONS

download CATALOG-PRICE form B-7 from 01/24/2016

download CATALOG-PRICE form B-24 from 01/24/2016

download CATALOG-PRICE form S-16 from 01/24/2016

download CATALOG-PRICE form S-20 from 10/17/2015

download CATALOG-PRICE form C-234 from 01/24/2016

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download CATALOG PRICE form G-16 01/24/2016

download CATALOG PRICE form G-19.5 from 01/24/2016

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download CATALOG PRICE form GF-16 from 01/24/2016

download CATALOG PRICE form L-18 from 01/24/2016

download CATALOG PRICE form P-20 from 01/24/2016

download CATALOG PRICE form R C-22 from 01/24/2016

download CATALOG PRICE form SC-7 from 01/24/2016

To make a lampshade with your own hands, you need a form-building base (block) on which the volumetric stained glass window will be assembled. As a base, you can use a truncated pyramid glued together from thick cardboard, foam plastic or plywood.

Work begins by preparing templates for stained glass design elements on a scale of 1:1. The template of each element is numbered, noting the color, direction of the glass pattern, etc.

On the glass blanks, all the elements of the pattern are marked according to the pattern, and then they are cut out. Each cut piece is carefully adjusted according to the pattern, and the edges are polished.

By wrapping strips of foil around the edges of the parts, check their fit to each other. Transfer the parts to the base, securing them with double-sided adhesive tape and then spot soldering.

This is how all four sides of the lampshade are sequentially formed. The seams between the parts and edges of the pyramidal lampshade are carefully soldered.

Structurally, the lampshade is reinforced with a wire frame with a central washer designed for attaching the lampshade to the base of the lamp.

The frame is soldered from the inside of the lampshade. The main stages of making a lampshade using the Tiffany technique with your own hands are shown in photos 1-10.

DIY stained glass lampshade using Tiffany technique: photo

1. The cut out parts of the pattern are fixed on the side face of the pyramidal base, their location and fit are checked.
2. Using a marker, transfer the contours of the stained glass details onto the glass. Red arrows indicate the direction of the auxiliary cutting lines.
3. The curved edge of the part can be cut along an arc and broken out with pliers as a whole segment.
4. The fitted parts with polished edges are framed with strips of copper foil.
5. The prepared stained glass elements are fixed on the side face of the pyramidal base, for example, using double-sided adhesive tape.
6. After checking the fit of the parts on one side of the lampshade, they are fixed with precision soldering.
7. After fastening on the basis of the parts of all four edges, the seams are carefully soldered, including from the inside of the lampshade.
8. The hollow pin of the lampshade frame helps center the mounting hole.
9. Without skimping on solder, the frame of the lampshade is soldered in from the inside.
10. To give a brass lampshade cap an antique look, it is tinned.