Decorating a product using decoupage technique
Technology teacher: Irina Pavlovna Zharkova, MBOU "Izhevsk Secondary School named after K.E. Tsiolkovsky", Ryazan regionCreative project on technology on the topic "Beautiful flowerpots using decoupage technique"
Whoever feels the beauty of flowers belongs to the world. Where flowers degenerate, man cannot live.Hegel.
Objective of the project: make flowerpots for indoor plants
Tasks:
get acquainted with various ways of decorating flower pots;
find and study new surface decoration technologies;
decorate the pots yourself;
show imagination and creativity.
Houseplants- decoration of any room. Without landscaping, the interior seems uncomfortable, empty, and uncomfortable.
During technology lessons, students learned how to grow and care for indoor plants. Everyone loves flowers. Some people prefer decorative leafy plants: ivy, ficus, monstera, spurge, dracaena, yucca, begonia and others. These plants are grown not for the flowers, but for the beauty of the leaves or stems. Some people grow plants in pots with their natural appearance, especially if the plant itself is valuable. However, beautiful flowerpots make the plant even more attractive. Stores sell mostly unattractive flowerpots, and if they are decorated, they are very expensive. To highlight the beauty of the leaves of indoor plants, you need to decorate the flower pots.
Research and analysis of the problem
Being creative today is interesting and fashionable. Scrolling through the pages of the Internet, you can find a lot of interesting and fascinating things about arts and crafts. Decorated flower pots are original, practical, environmentally friendly and inexpensive. The decorating process is a fascinating activity that allows you to turn banal, inconspicuous things into exquisite decorative elements.
Ponder star
History of decoupage
Decoupage is the art of decorating objects by gluing cut-outs of colored paper in combination with special effects such as painting, cutting, coating with gold leaf and others. Typically, items such as small boxes or furniture are covered with magazine clippings or specially produced paper. The object for decoupage is coated with varnish (often several layers) until the joint disappears and the result looks like painting or inlay. With the traditional method, up to 30-40 layers of varnish can be used, which are sanded until completely smooth. This method was used in England in the 18th century as the art of qapanning
Product requirements
Evoke positive emotions
Inexpensive in cost
Designed to decorate the interior of a room
Development of initial project ideas. Analysis of options
1. Decorating a flower pot with eggshells
Pros: beautiful, interesting
Disadvantages: does not meet 1 criterion.
2. Using shells to implement a marine theme
Pros: original
Disadvantages: does not meet criterion 2.
3. Decoupage technique on a flower pot
Pros: beautiful, interesting, original
No disadvantages
Decoupage technique
Decoupage was considered “the art of the poor,” which is not surprising, because... You don't need anything fancy to create exquisite effects. On the contrary, only ordinary materials from the farm. Of course, you can purchase materials made specifically for decoupage, but you can use ordinary things that lie around you at home. This makes decoupage one of the cheapest crafts.
The decoupage technique is quite simple. It is necessary to perform some work sequentially:
1 – prepare the workpiece,
2 – choose an interesting napkin,
3 – cut out the required number of patterns,
4 – separate the top layer,
5 – glue the patterns onto the workpiece,
6 – dry the product.
After these steps, you can proceed with further decoration or leave it as is, covering it with a layer of protective varnish. The work can take several days depending on the drying speed of the materials: glue, varnish.
It is convenient to apply materials using brushes with different numbers, rollers, and sponges. You should check their quality in advance, since it is unpleasant when fluff remains on the painted surface. Synthetic brushes are easy to use. A top coat of paint is applied to the surface of the pots to create a more interesting background for pictures.
To begin with, cover the surface with a layer of glue and carefully apply a napkin, leveling all its areas. This work cannot be rushed, but even if there is a small defect, for example, the napkin is torn in some place, its edges are carefully connected and allowed to dry. The image can be applied to a dry pot, and then glue can be applied.
Materials and tools for project implementation
To work in the decoupage technique, a set of certain tools and materials is required. When decorating flower pots, you need the flowerpot blanks themselves, which can be plastic or ceramic. The pattern on the front side is obtained by gluing napkins, drawings from decoupage cards, or applying acrylic paint. Basically, the work will require paint, glue, and varnish. It’s a good idea to use primer before painting to enhance the adhesion of the decor to the surface of the flowerpot. You can use glue specially designed for decoupage; you can dilute stationery PVA with water in a ratio of 1:1, 1:2 or 1:3.
To complete the project it was required:
1. plastic planter
2. acetone
3. napkins
4. brushes
5. PVA glue
6. acrylic varnish
Safety rules for glue and paint liquids:
1. Be careful with glue.
2. Do not inhale it.
3. After preparing the product, you need to wash your hands under warm water and soap.
4. Ventilate the room periodically.
Technology for manufacturing a design product
1. Treat the flower pot with acetone to degrease the surface and apply a layer of glue.
2. Prepare the napkins for use by separating the top layer.
3. Glue the design element, starting from the middle to the edges, smoothing out all the wrinkles.
4. Dry.
5. Cover the surface of the product with acrylic varnish.
6. Place the flower in the flowerpot.
Product cost calculation
How much does it cost? This type of needlework is quite inexpensive. The initial costs are low: you can get by with glue and napkins. You can get a taste for it, buy more paints, markers, varnishes, etc. A matter of taste, imagination and wallet.
The calculation of materials costs did not include the cost of PVA glue, because... These materials and objects were found at my home.
We also do not take into account energy costs, because work was carried out during the daytime.
1. Napkins - 2.50 rubles per one.
2. Pots - 99 rubles.
3. Acrylic varnish - 10 rub.
Total: 111 rubles 50 kopecks. The cost of similar products in the store is at least 250 rubles.
Analysis of completed work
The project goal has been achieved. The flower pot turned out bright and beautiful. It depicts flowers. This product can decorate any interior. In the process of working on the project, you will learn a lot of new and interesting things about decoupage. The work was done carefully. The result of the work met all expectations. The school students liked the planter. The main thing is that everyone is able to get acquainted with and master the technique of decoupage. Anyone can make amazing products with their own hands, which can become an original gift.
Having analyzed the work performed, we can conclude that a thing made with one’s own hands is more expensive than something bought in a store, because love, skills and a piece of the author’s soul are invested in it.
Slide 1
Author: Svetlana Anatolyevna Murnukova Place of work, position: MAOU interschool educational center of Kaliningrad, technology teacher, 1st category CREATIVE PROJECT 5th gradeSlide 2
Lesson objectives: To introduce students to the concepts: “Creative project. Stages of project implementation. Preparatory stage"; Instill the skills of clear and correct expression of your thoughts, be able to analyze, highlight the main thing, and compare; promote memorization of basic terminology; To promote a caring attitude towards equipment and aesthetic qualities of the individual.
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Creativity comes from the word “to create” and means “to search, invent and create something that has not been encountered in past experience.” Creativity is the process of creating something new and beautiful, which fills life with joy, stimulates the need for knowledge, and enhances the work of thought.
Slide 5
A creative project is an independent final work, as a result of which a useful product is created that has novelty. For example, mastering new methods of processing or finishing a material, developing an original design or shape of a product, etc.
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The goal of any creative project is to transform the reality around a person.
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Stages and content of the project Stages Content 1 Preparatory Selection and justification of the project topic. Historical and technical information 2 Design Development of design documentation (drawings, models, sketches, diagrams, drawings, etc.) 3 Technological Development of technological documentation (technological map or product manufacturing plan) 4 Manufacturing of the product Organization of the workplace. Performing technological operations 5 Final Economic justification. Product brochure. Conclusions based on the results of the work. Project protection
Slide 8
Work on the project can be carried out individually or collectively (2-3 people). This specifically defines what each student does. When designing a product, you can use ready-made parts and mechanisms.
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Requirements for choosing a project topic: the essence of the work to be done should be clear; the work should be interesting; you must be able to independently perform basic technological operations during the project; the material and technical base must ensure the implementation of the project.
Slide 12
Historical information - a short study on the history of the design object. This certificate indicates: the time and place of origin of the design object (if any); the history of its development and application (local history material); features of manufacturing technology; traditions of production and use.
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The technical certificate indicates: tools and materials necessary for the manufacture of the design object; shape, color, size and other parameters of the product; traditions in decoration (in drawings, composition, technological techniques); short description technological methods (symbols, diagrams, illustrations, drawings); types and methods of finishing products.
Slide 15
Questions and tasks Define creativity. What is a creative project? What is the purpose of a creative project? List the main design stages. * The student completed a project - a “Chicken” panel made of three-layer plywood, and the quality of the work was excellent. The souvenir picture came out beautiful and everyone liked it. The student took the shape and design of the panel from a school textbook. The progress report was also submitted in a timely manner. While working, the student diligently completed all tasks, observed occupational safety precautions, correctly applied the acquired work techniques, and kept order in the workplace. Do you think his work is creative?
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Questions and tasks What does the preparatory stage include? What does the concept of “project justification” mean? Tell us about the content of the historical reference. What information must be included in the technical certificate? List the main sources of information. *What sources of information did you use to complete your project?
Slide 17
NEW CONCEPTS Creativity, creative project, Design stages Preparatory stage, Justification of the project, Historical background, Information, Sources of information, Technical information.
Municipal educational institution
"Average comprehensive school No. 21"
Creative project on technology
"Pencil Girl"
Developed by a student of grade 8 "B"
Chelyakin Dmitry
Head of technology teacher
Khrabrov Nikolay Vasilievich
Vologda
Introduction to a creative project……………………………………………………….3
Justification of the project topic................................................................... ..….……………4
Historical reference................................................ ..................................4
Selecting a product option......................................................... ...............................5
Development of a product sketch……………………………………………………………8
Technological process of product manufacturing………………………..9
Calculation of the conditional cost of materials for the manufacture of a product…..10
Final control and evaluation of the project……………………………..11
Project protection……………………………………………………….12
List of used literature........................................................ .........13
Introduction to a creative project
Familiarity with a creative project is introduced into the technology of labor training from the 5th grade.
A-priory creative project- This is an independent research work that can be performed efficiently thanks to solid knowledge and skills of the technology subject programs.
Goals and objectives of the creative project:
To develop polytechnic knowledge in the most common and promising technologies;
To form an idea of the basics of modern production and services;
Develop independence and the ability to solve creative and inventive problems;
To ensure the implementation of self-knowledge, familiarity with the world of professions;
To cultivate hard work, enterprise, collectivism, humanity, mercy, commitment, honesty, responsibility, and a culture of behavior;
Foster a caring attitude towards nature and natural resources;
Form an active life position;
Form the basic concepts of a market economy and the ability to apply them;
Develop a realistic plan to achieve your goal.
Equipment: samples of blanks, rulers, pencils, creative projects, reports, abstracts, posters.
Justification of the project topic
Object research work, the creative project is the technology of manufacturing wood products, and the subject is the student’s own capabilities in this craft. The novelty and significance of the research can be defined as follows: “Everything new is well-forgotten old. Beauty, revived by human hands, can make the world warmer and kinder.”
The ability to work with wood is an opportunity to experience beauty. This skill is taught in wood processing technology lessons with a view to its further use for practical purposes. It is impossible to imagine Russian housing without wooden products, both in ancient times and in our time. Even in a modern apartment or office, a wooden composition will flash by, enlivening the interior of the room. Now many folk crafts are being revived, a lot of relevant literature is being published: books, magazines, manuals that will help in the design and manufacture of products.
All the tools in the workshop are distributed according to their arrangement, and only pencils and pens are, as a rule, chaotically lying on the teacher’s desk. You can correct this situation and restore order among your office supplies. The object of development of a creative project is the installation, which can be called a stand for pencils and pens, a pencil holder. Its use will help keep stationery on the table in perfect order, and this product can also act as a pleasant and useful gift for loved ones.
Historical reference
The history of the emergence of a stand for writing instruments should be considered in parallel with the emergence of the writing instruments themselves. The history of the pencil begins in the 11th century. Artists then drew mainly with sticks made from a mixture of lead and zinc, sometimes called “silver pencils.” Graphite pencils have been known since the 16th century. Buyers, mostly artists, squeezed these graphite sticks between pieces of wood or twigs, wrapped them in paper or tied them with string. The first document to mention wooden pencil, dated 1683. In Germany, the production of graphite pencils began in Nuremberg. The modern pencil was invented in 1794 by the French scientist and inventor Nicolas Jacques Conte. Modern leads use polymers, which make it possible to achieve the desired combination of strength and elasticity, making it possible to produce very thin leads for mechanical pencils (up to 0.3 mm).
The usual hexagonal shape of the pencil body was proposed at the end of the 11th century. Count Lothar von Fabercastle, noticing that round pencils often rolled off old surfaces. 2/3 of the material that makes up a simple pencil goes to waste when it is sharpened. This prompted the American Alonso Cros, a pioneer of modern writing instruments, to create a metal pencil in 1869, where the rod is held by metal clamps (collets) - a collet pencil. This humble beginning influenced the development of a whole group of products that are used everywhere today.
The original item, a pencil holder, is an example of office interior items from the first half of the 19th century.
Selecting a Product Option
What specific requirements should the future product - a pencil holder - satisfy? The following criteria can be distinguished:
1. Durability.
2. Reliability.
3. Manufacturability.
4. Aesthetics (design).
5. Convenience.
6. Security.
7. Cost-effective.
8. Eco-friendly.
9. Personal attractiveness.
If you analyze various magazines, books, websites, looking at the options for the finished product, you will find a very large number of them, so making the final choice is not at all easy.
However, we will focus on four possible basic options, based on our taste. These options fully comply with the requirements for the product described above.
P 
stand for pencils and pens
Rice. 1. Possible product options
We will evaluate the selected product options in accordance with established criteria. We will proceed from a six-point scale for assessing the qualities of each option. We will present the results in the form of a table.
| Property/product variant | ||||
| Strength | ||||
| Reliability | ||||
| Manufacturability | ||||
| Aesthetics (design) | ||||
| Convenience | ||||
| Safety | ||||
| Economical | ||||
| Environmental friendliness | ||||
| Personal attractiveness | ||||
| Sum of points |
Analysis of the results obtained allows us to conclude that the most optimal is Option 3, which scored more points. Its main advantage is its original beautiful appearance (aesthetics). In addition, this option also implies variability: the shape of the product can be different (“hedgehog”, “fish”, “duck”, “ship”, “car”, etc.), which allows you to satisfy the aesthetic tastes of different people. So, let’s settle on the third option – the “Hedgehog” pencil holder.
Product sketch development
The pencil case consists of two main parts: the main element - the hedgehog and the base (stand), which are connected by a round spike (dowel).
Holes for stationery are drilled in the upper part of the case.
Rice. 2. Project product “Pencil”
Technological process of product manufacturing
| Sequence of work | Sketch, drawing | Tools, devices |
|
| Select a workpiece taking into account processing allowances (20x110x130), plan and sand all its sides Outline the template Make a series of cuts and use a chisel to make chips along the contour Process the workpiece along the contour (bring it to the line) Drill the required number of holes |
| Workbench, plane, sanding paper Blank, template, pencil Workbench, saw, chisel, mallet Files, sanding paper Drilling machine |
Calculation of the conditional cost of materials for the manufacture of a product
Having considered all aspects of manufacturing the “Pencil Holder” product, you can perform economic calculations.
The total volume of wood for the manufacture of pencil holder parts was V = 0.002 cubic meters. meter of wood.
1 cu. A meter of oak wood costs 6,000 rubles.
0.002 m3 x 6000 rub. = 12 rub.
When drilling on the machine for 20 minutes, it is consumed electrical energy:
0.4 kW x 0.34 h = 0.136 kW x h
0.136 x 1.51 rub. = 0.21 rub.
Upon completion of assembly, the product is coated with furniture varnish. 0.05 kg consumed.
1 kg of furniture varnish costs 145 rubles.
0.05 x 145 = 7.25 rub.
The total cost of materials is:
12 + 0.21 + 7.25 = 19.46 rubles.
Final control and evaluation of the project
So, the product - a pencil holder - is completely ready and meets the developed criteria. The product is durable, reliable, economical, because... Not a lot of materials were spent on its production. The technology for making a pencil holder includes those operations that are mastered in technology lessons: planing, sawing, drilling, stripping, etc. Since these operations are not complex and labor-intensive, the production of a pencil holder required a short time range.
The product is environmentally friendly, as it is made from natural material – wood. Also, the pencil holder turned out to be very convenient and safe to use.
In office supply stores, you can check the prices for similar products and make sure that the cost of a home-made pencil holder is significantly lower. But, of course, we should not forget that the price of the finished product also includes the costs of wages for workers and transportation of goods to the store.
As a test and test, the product should be tested during a technology lesson. The pencil holder has been tested and found to be stable, comfortable, lightweight and useful.
Did you get the expected result? The initially planned product - a pencil holder - is ready, thanks to the knowledge and skills taught in wood processing technology lessons. Anyone can make a pencil holder with their own hands. In addition, by analyzing the calculations, we can draw a conclusion about how profitable it is to create on your own. The main thing is to believe in yourself, that everything will definitely work out. Neither a simple nor a complex thing can be done without love for your work, without a creative approach to business. And creativity begins with the desire to do something with your own hands. To do means to create. Creation, creation, is a way out of the ordinary course of life, rising one step higher, discovering new possibilities in oneself.
Project protection
Defense of a creative project includes a report that describes:
Justification for choosing the theme of the creative project “Pencil”;
Study various options products and justification for choosing the best option;
Explanation of the sketch of the product details and the manufacturing process;
Features of product manufacturing;
Calculation of the cost of materials for this product.
The finished product is presented to an expert commission for discussion and clarification of aspects of interest.
List of used literature
1) Yu.A. Zhadayev, A.V. Zhadaeva. Technology. Lesson plans for the section “wood processing technology” according to the V.D. program. Simonenko. 2006
2) Yu.E. Dolmatov, E.S. Golovanov. Manual on design work in the course “Technology of processing of wood materials”.
3) A.M. Konovalenko. Fundamentals of carpentry., Kyiv, 1994.
4) L.N. Kreindlin. Carpentry work. 1978
5) M.B. Pavlov, J. Pitt, M.I. Guruvich, I.A. Sasova. Project method in technological education of schoolchildren: A manual for teachers. 2003
6) A.V. Khudyakov. Woodworking machinery. 1981
7) E.M. Muravyov, M.P. Well done. Workshop in educational workshops. (Wood and plastic processing). 1987
8) A.T. Tishchenko, V.D. Simonenko. Technology. Industrial technologies. 2012
9) A.T. Tishchenko, N.V. Tit. Technology. Technical labor. 2010
Getting to know the history of the development of household lamps helps to better understand the relationship and mutual influence of technology and culture in these objects subject environment dwellings, extremely diverse in their forms. We find the first literary mention of a lamp in Homer. When describing Odysseus and Telemachus carrying out the suitors’ weapons, it is said: “... and Pallas Athena, invisibly holding a golden lamp, shone to them.”
The centuries-old history of household lamps demonstrates the dependence of their shape on the development of artificial lighting technology, materials and manufacturing technology, architecture, decorative and applied arts and, finally, design.
The sources of artificial light of the ancient world were torches, torches and oil lamps. Oil lamps consisted of a vessel for hemp or linseed oil and a wick. The material for their manufacture was most often clay, less often bronze. Many examples of similar lamps from the period of ancient Greece and Rome have survived. Due to the weak light intensity of one wick, oil vessels were equipped with several wicks, and the composition of one lamp sometimes included several vessels. A significant achievement of artificial lighting technology was the creation in the 5th century. BC. Callimachus wicked from the so-called Carpasian flax, a fireproof material reminiscent of asbestos, mined on the island of Crete. Such an “unquenchable fire” burned for seven centuries in the sanctuary of Athena in the Erechtheion. It is mentioned in the “Descriptions of Hellas” in the 2nd century. AD traveler and geographer Pausanias.
As a widespread household item, lamps became objects of artistic creativity in ancient times. Even at that time, their shapes and designs were very diverse. At the same time, almost all types of lamps that exist today appeared in terms of the method and location of their installation.
Historically analyzing the evolution of the form of household lamps, one can trace the emergence and development of their structures and decor. At the same time, stable structures that do not depend on changes in architectural and artistic styles are easily identified. Many types of structures, having arisen in ancient times, have survived to this day. Other types of structures have proven to be less durable. For example, with the advent of electricity, systems that existed in the 19th century became a thing of the past. portable kerosene mug lamps. Among the surviving structures are pendant lamps with a ring or horn structure, table lamps with a central post, and wall lamps of the sconce (arm) type. These structures arose and developed during a period when the most common light source was a candle.
The main reason for preserving the original structures is their expediency and rationality, as well as a certain inertia of human consciousness and people’s commitment to stereotypes. For example, the structure of a table candle lamp with a central post in the 19th century. was also used for kerosene lamps, although in this case it is less appropriate.
With the advent of electric lighting, new types of structures were formed that were rational with a new light source. However, many types of structures that cannot be classified as rational continue to be used in electric lamps. Today we see numerous examples of the use of structures and shapes characteristic of candle and kerosene lamps.
For many centuries, the lamp was considered as an integral element of the interior of a home. Therefore, its form and decor developed in close connection with the form of interior equipment and were subject to stylistic trends in this area.
The lamp has always been an object of professional and popular decorative arts. During the times of Ancient Greece, Etruria and Rome, along with richly decorated bronze lamps in large quantities oil lamps were made from baked clay. Examples of such ancient samples include lamps found during excavations of Herculaneum and Pompeii back in the 18th century. and lamps from excavations in Chersonesos already in our time (Fig. 1).
Architectural motifs, images of people and animals, plant and geometric patterns were widely used to decorate bronze lamps. Already at that time it is easy to notice many similarities in the elements of lamps and furniture. Etruscan candelabra, like furniture, had supports in the form of human legs or animal paws. Silicate glass appears as a diffuser (or rather to protect the flame from gusts of wind) in bronze oil lamps.
Clay oil lamps, used in the homes of ordinary people, also vary in shape. However, they only use animal motifs and flora and there are no architectural motifs. Most often, such lamps were made portable.
For many centuries, in peasant houses in many Northern European countries, including Russia, the main source of light was a torch. To maintain the flame of a burning splinter and to store new splinters, so-called lights were used. Most often they were forged from metal. Sometimes wooden parts were used as a base. The lights were very diverse; they were decorated with various metal curls, and the wooden parts were carved and sometimes covered with painting.
For many centuries, artificial lighting was provided by candles. Safer and easier to use, already in the 12th century. V Ancient Rus' they were widely used. Tallow candles appeared first, then wax, stearin, paraffin, and spermaceti candles, which burned longer and produced less soot and smoke. All lighting fixtures of the 16th-18th centuries. They were various structures with profit margins attached to them, into which candles were inserted. The most common were candlesticks (shandals) for various numbers of candles, for the manufacture of which wood, bone, glass and porcelain were used, but the most common was durable fire-resistant metal.
With the development of foundry in Kievan Rus back in the 9th century. Copper and silver chandeliers and candlesticks are made. The name “chandelier” or “polycadillo” comes from the Greek word “polykandelon”, meaning multi-candlestick. The most stable composition of the chandelier consisted of a central rod structure with complex balusters (and later with balls), from which multi-tiered candlesticks branched (Fig. 4). In later times, the design of chandeliers formed the basis for the creation of many chandeliers.
Along with the chandelier, in Rus' there was an even more ancient form of lamps - horos, which were like a round bowl suspended on chains and framed by a ring in which candles were installed. Interesting examples of choros are available in the Faceted Chamber of the Moscow Kremlin.
Complex and large lamps were used mainly in churches, palaces and houses of rich people. Such lamps, as a rule, differed not only in size (the diameter of the chandelier in some churches reached up to 3 m), but also in their magnificent decoration, the use of relief carvings, artistic casting, valuable materials, painting, and gilding.
A special place in the history of the development of lamps is occupied by lanterns (“running” or “removable”), which were used on the most solemn occasions (religious holidays, during religious processions, wedding and funeral ceremonies) and therefore decorated with special luxury. Lanterns were usually hexagonal in shape with mica walls that protected the candle flame from the wind.
With the development of construction and architecture in the 18th century. Numerous large mansions with rich interior decoration appeared. All this created a need for new, more efficient lamps, which were “wall lamps” and chandeliers. Wall lamps were shiny copper flat or concave reflectors of round, octagonal or shaped shapes with candlesticks attached to them, which were hung on the wall. Bright surfaces that attracted attention walls were engraved, minted, decorated with patterns and images.
The most advanced in lighting and architectural terms were multi-candle chandeliers with crystal and colored glass. These lamps, varied in shape, size, materials, and manufacturing technology, are a product of the corresponding era, both in architectural and technical design. The use of low-power light sources such as candles led to the need to create large pendant lamps with a large number of candles. At the same time, medieval architects had to solve the complex problem of compositionally linking weak spots of individual candles scattered in a large volume into a single whole. The creation of a single luminous volume of the lamp was ensured by using various decorative glass and, above all, crystal. In this regard, it is necessary to note the exceptional influence on the development of lamps by the formation and improvement of glass production.
In ancient times, glass was expensive and of poor quality. As artistic glassmaking develops, glass for lamps changes and takes on different shapes and colors. Glass is used as a main material for the first time in Venetian candle chandeliers. The main method of their manufacture was the sculpting of parts from a cooling mass of transparent glass, in which the Venetians were distinguished by unsurpassed virtuoso skill. A Venetian molded glass chandelier is usually assembled from a bunch of glass stems, freely “growing” upward from one central glass bowl. The stems are decorated with flowers, leaves, often intertwined, candlesticks are installed in the flowers; chains of glass rings fall in garlands; the central metal rod is hidden in glass decorations, Venetian chandeliers, girandoles, and candelabra were typical works of the Baroque.
Lamps made of raw glass (including Venetian molded glass) are being replaced by crystal lamps, which have aroused exceptional and constant interest among architects and lighting engineers to this day. The crystal candle chandelier greatly increased the visible number of light spots compared to the number of candles used, and created a decorative play of light on small and large faceted glass parts, based on the refraction and reflection of light, as well as on the effect of light dispersion by triangular prismatic elements. The moving flame of light together with the crystal created a different visual effect under in various directions observations. Crystal playing with light, slightly vibrating under the influence of rising currents of warm air, united the dim candles into a single composition and created an exceptional emotional effect, turning the lamp into a light-colored structure, unrivaled in its decorative effect.
Artificial crystal, i.e. glass, gets its name from the mineral rock crystal. Crystal is soft, easy to machine - cutting, deep grinding, polishing. Cut crystal first appeared in Bohemia in the 17th century; in the 18th century In England, purer and softer lead crystal appeared. The basis of domestic chandeliers of the first half of the 18th century. lies in the use of crystal decoration made of stylized oak leaves, star-shaped rosettes, figured “vases” and balls, manufactured at the glass factory in Yamburg, and then at the St. Petersburg factory. Russian art glassmaking owes the appearance of colored glass in chandeliers to M.V. Lomonosov. Blue and pink glass was most often used in the 70s and 80s of the 18th century, ruby and emerald green - at the end of this century, products of Tula craftsmen made of steel occupy a special place in the history of the development of lamps.
In subsequent years, compositional techniques were developed for placing crystal elements in lamps of various structures, as well as the shapes of these elements, depending on the technology of their manufacture and the prevailing architectural and artistic style.
The appearance of crystal lamps coincided with the heyday of the Baroque style. However, the artistic merits of crystal were most fully revealed during the period of dominance of Rococo, Classicism and Empire style. Beautiful examples of crystal lamps were created by Russians architects XVIII and the beginning of the 19th centuries.
In the middle of the 18th century. At the same time, “sets” or “sets” appear in furniture and lamps, consisting of products with different installation methods, united by a single artistic solution.
As porcelain spread in Europe, it began to be used in decorative elements of lamps.
At the end of the 18th - beginning of the 19th centuries. Lamps in which bronze replaces other materials, including glass, are becoming increasingly widespread. At the same time, chandeliers with oil lamps appeared, which had significant advantages due to their greater brightness and operating time. In these lamps, a reservoir with viscous oils was placed above the burners, which ensured a flow of fuel to the wick. Tube glasses appeared, protecting the flame from the effects of air currents, creating draft and reducing soot.
Important stages in the development of lamps were the creation of “Carcel” and kerosene lamps. The first of them, invented by the Frenchman Carcel, had oil tanks with a “clock” mechanism that pumped oil into the burner. The kerosene lamp was invented by the Pole Łukasiewicz in 1853. The fundamental difference between these lamps and oil lamps was the location of the burner above the tank; This turned out to be possible due to the fact that kerosene is easily absorbed by the wick and is easily flammable. The widespread use of kerosene lamps, and after them gas burners with glow grids, led to the need for devices to protect the eyes from the glare of the hot parts of these lamps. Various diffusers made of milky silicate glass, “lampshades”, opaque reflectors and screens were used as such devices.
With its spread in the 19th century. kerosene lamps, more complex in their design than all the lamps that preceded them, and also with the development of the machine production method, the lamp gradually began to be understood not only as decorative element interior, but also household appliances.
The era of kerosene lighting created a number of very stable structures. Electric lamps still use some of these structures, although not always justified from a design point of view. In kerosene lamps, complex units for raising and lowering the lamp appear (candle chandeliers were lowered and raised using small winches). Kerosene lamps of the second half of the 19th century. were produced both in the form of simple and cheap machine-made products, and in the form of unique expensive products using art glass, porcelain and metal casting.
The new method of production entailed the emergence of new materials and technologies, but it could not quickly create its own specific, unique forms of products. The appearance of electric lighting in the early 80s of the XIX century. came at a time of stylistic chaos. The bourgeoisie's desire for aristocratic respectability in their homes revived interest in antiques and led to a revival of historical styles from different eras in architecture and furniture. However, advanced artists and architects of that time had already begun an intensive search for new ways, which led to the emergence of the Art Nouveau style, which was frankly decorative in nature.
In electric lamps of the late 19th century. two directions were immediately determined: constructive (light, technological form, devoid of any decoration) and decorative (use of common stylistic forms of past eras and modernism).
Lamps of structurally simple and expressive forms were produced by many electrical engineering companies in the USA, Germany, and France. As a rule, these were lamps for local illumination of work areas, with the ability to regulate the direction of the light flux. The shape of some of them was so interesting that their serial production has now been resumed. Despite the fact that this step can be considered as a clear stylization in the spirit of “retro”, only an expert can determine that the age of the prototype is already approaching a century.
The electric incandescent lamp made it possible to create, along with multifaceted designs, lamps with a closed structure, directly built into the ceiling or wall. The new light source opened up great opportunities for artists and architects working in the Art Nouveau style to create products with expressive decorative forms. Art Nouveau, according to which architects strived for ensemble unity of the architecture of the building, its interiors and equipment, developed a complex system of stylized ornament based on motifs of the plant world. This ornament was often used in lamps. A typical example is the lamps created by the Russian architect O.F. Shekhtel at the turn of the 20th century. for a number of mansions in Moscow. These lamps are inextricably linked with the space and equipment of the interior; they seem to “grow” from the fantastic forms of the interior. Their forms are distinguished by a wealth of imagination and subtle taste.
And at the same time, modern artists are no longer trying to get away from the machine form, but they want to rethink this form decoratively.
By the 20s of the 20th century, when modernity had exhausted itself, trends towards simplifying product forms were quickly spreading throughout Europe. The lamps are also discreetly decorated. Pendant lamps with a fabric lampshade, flat-shaped bowl lamps, cube-shaped pendant lanterns, wall lamps of simplified shapes, table lamps on a thin central stand with a fabric lampshade, devoid of any decoration - this is the main range of lamps used at that time.
In the early 50s, fluorescent lighting began to enter the home. The process is most intense in Japan, where this type of light source fits perfectly into the traditional national forms of lamps that have been formed over the centuries. Currently, fluorescent lighting dominates Japanese homes.
In Europe, the first attempts to introduce fluorescent lighting were made back in the 40s, but its use in household lamps was limited by the significant size of tubular fluorescent lamps, which made it possible to use them only in ceiling lamps.
A revolutionary breakthrough in this direction occurred in the late 70s - early 80s, when mass production of compact fluorescent lamps, comparable in size to standard incandescent lamps, was mastered.
And as always, innovation begins with the use of old forms. The first fluorescent lamps for residential premises follow the structure and shape of lamps with incandescent lamps. Only later do they acquire their own specific forms