Large floor decorative vases for the interior are stylish element room decorations. Do you agree that a craft made from wooden circles looks impressive?
We will create it with our own hands using small cuts of wood - round in cross-section. We don't need whole trunks, just branches from about one to three centimeters in diameter, as well as a base on which we will attach small wooden parts.
DIY materials for a wooden vase
As I already mentioned, we need cuts of tree branches, quite a lot, depending on the size of the vase, or rather, more on its surface area.
We also need something to serve as the basis for our craft. They can be anything, even simple tin, as you see in the photo below, or a flower pot.
It would be better if the tin surface was not so visible, so it is possible to first decorate it, for example, with twine or cover it with paper. Despite the fact that this work is done too roughly, the flowers in it look quite cute.
If you have a vase with a defect, for example, with a crack, or broken, it’s not a problem, it can be useful to us. We'll glue the broken one back together first. The surface and cracks on it will still not be visible - we will decorate it with wood.
The simplest thing is to find a ready-made base for our interior vase, but in principle there is another way - to make it yourself. It could be a papier-mâché vase; you can recycle a lot of unnecessary newspapers. Then the product will be very light and it would be better to make it in a different shape, more stable.
Or mold it from clay, and insert a regular one inside glass jar or a bottle so that the vase can be used not only as decorative item interior, as well as for its intended purpose - to place flowers or twigs in it.
It is better to carefully clean the cuts with front side, which will be visible to us. There shouldn’t be any nicks or special irregularities, we don’t want to get scratched. Whether to remove the bark or not is your personal choice, as you like or what effect you want to achieve.
Prepare some more good glue, we will glue these small round pieces.
Decorative vase - manufacturing
The wood can be treated with stain or left as is, it is a matter of taste and personal preference. It would be good to think about where the decorative vase will be placed and in what interior. It is better to leave the saw cuts for light-colored furniture as is, do not paint them.
If the colors of the furniture are dark, then you can partly wooden parts or process everything at once to give them a darker shade.
Here the color is left natural, the texture of the wood is clearly visible - circles. I almost forgot - the cuts should all be the same thickness so that the vase ends up with a smooth surface.
Now let’s get down to work, actually creating our own design work - decorative floor vase made of wood. We select the size and glue the cuts so that as much of the base as possible is covered.
Between the large ones we glue small pieces, like a mosaic. You can start from anywhere, as you like. But it's better, I think, to start with the flattest (least convex) part.
When everything is glued, you need to let the product dry thoroughly. Decorative on top wooden surface If desired, you can varnish it.
This is what a floor decorative vase looks like in the interior. It is made of natural material, gives warmth to the room, and creates style. Various beautiful twigs collected from the forest or stems of dry plants will look good in it.
If there is a container inside, such as a jar or bottle, that does not allow water to pass through, then our vase can undoubtedly be used for fresh bouquets.
Vases are made using a similar principle simple shapes in the photo below. Wooden rounds can first be treated with stain to add color. Or leave it as is.
An interesting pattern on the texture is created by alternating circles of different diameters. Some wood types have their own unique pattern on the cut, this adds originality.
Products made from natural natural materials, in particular wood, purchased in Lately extraordinary popularity. You can pick up some ideas on sale and then repeat them yourself for the interior of your own home.
These can be not only vases, but also other small decorative items, even entire walls and furniture.
You may be interested in:
Examples of interior decoration, when natural materials are also used. This time the decor is made using oblique cuts of the stems of plants growing near water, in shallow water. These are the well-known reeds, cattails, as well as other types of marsh vegetation, calamus, and rush grass. Using the same method, you can make decorative animal figurines.
Another example of creating a vase from natural materials - branches, driftwood, and a small glass container. Very cute and at the same time easy to make wooden crafts for interior. The stick does not need to be processed at all, you just need to drill a few holes in it for a vessel with water and attaching laces.
Very unusual unique vases can be done on lathe(who knows how, of course). I liked it very much and couldn’t pass it by, so this post appeared. Can be used both for its intended purpose and for decorative purposes to create a unique interior. The more interesting the structure and pattern of the wood, the more flaws and irregularities, the better!
We decorate a vase using glass mosaic technique. The base is glass, and so is the surface cladding. Almost any non-relief shape will work as a basis, except something that is too small, such as a flask for a hanging vase. Inside the article there is another unusual method of interior decoration - creating a decorative inner surface of a wide wooden bowl using mirror mosaic tiles.
The history of wood processing on a lathe goes back more than 2 thousand years. Progress does not stand still; tools and the machine itself are being improved. Instead of 2 people, as at the very beginning of turning, it is serviced by one master, and the rotation of the part is set using electricity. As before, wood is conducive to creative process, which allows craftsmen to create with their own hands original elements interior decor, souvenirs, wooden dishes, carved furniture and much more.
To make your own wooden cans for bulk products, cylindrical jewelry boxes, nesting dolls and other souvenirs, wood with different characteristics density, fragility and humidity indicators. Before you start turning, you need to calculate the load that the type of wood taken for work can withstand. Success in production will largely depend on this, especially if a sharp narrowing of a wooden part is expected, for example, for a carved thin leg. A small miscalculation with the pressure of the cutter on the workpiece, and you can start all over again.
On the lathe desktop machine With manual type processing, much depends on the skill of the master - the fidelity of his hand and the accuracy of his eye. Turning can be carried out both along and across the wood fibers. During production wooden utensils drawings are not required. The beauty of deep bowls often depends on the choice of wood. Coniferous trees have more even growths of annual rings, which allows, by uniform turning on wood, when aligning the center of the trunk with the axis of rotation, to create products with a pattern that repeats in the period. Hardwood depend on the aridity or humidity of the year, so the annual rings can vary greatly. True, for storing vegetables and fruits in fresh, wooden containers made from them are less effective than those made from coniferous ones due to the lower resin content.
To ensure that the container with the lid closes hermetically, you should not neglect the drawings. To make a whole set of identical containers with your own hands, the easiest way is to create a stencil based on a drawing and repeatedly checking the dimensions. You can work with a template only if the lathe has a device for attaching cutters and a copier. Using such a machine, you can not only create individual products with your own hands, but also put on stream the production of sets of wooden household utensils.
Turning products such as balusters for decorating a porch and stairs, building a gazebo, it is better to have a copier on the lathe - this is more reliable than relying on your own eye. No matter how skilled the craftsman is and how well he or she masters the cutter, it will not be possible to reproduce the previous product more reliably than using a copier. For craftsmen who are fluent with a cutter, there are no obstacles to creating multi-layer threads on a lathe with their own hands, which will become worthy decoration furniture - chair backs, bed headboards.
The turning of paintings and faces of saints can be considered a separate form of art - this can be done by high-class craftsmen who are able to think in volumes and create multi-layer copiers. Less difficult in terms of transferring the intended design to wooden blank using CNC equipped machines. It will take a lot of time to produce a single product. Turning carved painting on a CNC machine differs from manual wood carving in the absence of physical effort on the part of the master. Unlike a person, a machine’s “hand” will not waver - all elements will be produced in accordance with the laid down program.
For children's playgrounds, even in cities, non-metal ones are increasingly being installed. playgrounds, but wooden ones. Wood gives greater flight of imagination to craftsmen. When making swings for their children and grandchildren, many will remember horses on bent runners. You can turn on a home lathe individual elements such a rocking toy, then use wood glue to assemble the toy together.
You can make a carved box out of wood with your own hands on a regular lathe with an additional fastening - a faceplate. Having chosen a suitable pattern or ornament, it must be transferred to the flat blanks of the lid and walls using a pencil and copy paper. Cutting of the ornament is carried out with hand tools. Applying decorative carvings to round or cylindrical boxes is also done with a hand tool; only the workpiece can be fastened in the spindle without being clamped by the tailstock, which will interfere with the application of vertical elements of the design on a part horizontally fixed on the machine.
The peculiarity of making souvenirs on a lathe is that first all the steps to create the external and internal silhouettes of the product are performed, decorative carvings are applied, and only after this the finished object is separated from the total volume of the workpiece.
All photos from the article
Wood is not only a material for making beams, boards and other building elements, this is also room for creativity, since this material is processed quite easily, so anyone can try themselves as a sculptor. Artistic processing of wood allows you to get a real masterpiece even from a piece of wood that seems ordinary at first glance.
Methods of artistic wood processing
Turning is far from the only way to process wood.
In addition to this, we can highlight:
- inlay - while in wooden base pieces of other wood are inserted to form a pattern;
- pyrography – ordinary wood burning. If you work carefully with a device with a thin tip, you can achieve outstanding results;
- turning - in order to make turned wood products you will need a lathe and at least minimal skills in working with it;
- hand carving – you can’t do without skills in working with cutters; it’s difficult for even experienced craftsmen to work with hard wood. But handmade very highly valued;
- also to the ways artistic treatment can be attributed . Painting is often combined, for example, with carving.
Note! Using the machine significantly increases the speed of work compared, for example, with hand carved. All turned products offered at retail are obtained by processing the workpiece on a machine.
Turning on a machine can also be carried out using several technologies. For example, segment turning involves gluing a workpiece from individual fragments of wood and then processing it on a machine. By combining different types of wood, interesting effects can be achieved.
As for the list of what can be made on a lathe, it is quite large. You can start with simple turned handles for tools (the same chisel), and end with massive long products. Also, utensils and other useful household items can be made from wood.
Types of turning
If we try to describe the process in dry technical language, we can say that the turning process consists of obtaining a part from a workpiece that has the shape of a body of revolution. Since in the case of wood our goal is also to make this part look attractive, the aesthetic component is achieved by changing the diameter of the workpiece, combining different forms etc.
As for classification, turning on a wood lathe can be divided into the following types:
- longitudinal - in this case, the workpiece rotates around its axis, and the cutter gradually moves towards it parallel to the axis of rotation;
- transverse - differs from longitudinal in that the cutter moves in a plane perpendicular to the axis of rotation of the workpiece;
- angular (tangential) – in this case the cutter moves at an arbitrary angle to the axis of rotation.
The classification can also be based on the purity of processing. Thus, during roughing, the tolerances are very large, but the rate of removal of excess material is high. Finishing involves finishing the workpiece and removing a thin layer of material.
Subtleties of choice
If working with wood is just a pleasant hobby and you don’t have a whole workshop with a full arsenal of all the tools at your disposal, then the choice of machine is critically important. There are a number of parameters, paying attention to which, the probability bad choice will decrease significantly.
What to look for when choosing
Most often, very compact devices, tabletop lathes, are purchased to satisfy the creative itch. Of course, in terms of accuracy and engine power, they cannot be compared with powerful industrial analogues, but the price of such devices is reasonable.
When choosing, you should pay attention to such machine parameters as:
- maximum permissible dimensions of the workpiece being processed. The documentation for the machine must indicate the turning diameter ( maximum size workpiece in the transverse direction) and the length of the bed (maximum permissible length blanks);
- power - roughly speaking, the more powerful the device, the better, but with increasing power, the dimensions of the machine also increase. So you need to find a middle ground;
- the material from which the bed is made, as well as the material of the frame. From the point of view of stability, models with a steel frame and a cast iron frame can be considered optimal. True, the weight of such machines is quite large, so if you plan to frequently relocate it, then it is better to choose a lighter model;
Note! Machines in which the frame and body are made of light alloys can be easily moved from place to place with your own hands without outside help. On the other hand, they are not as durable as steel ones.
- rpm adjustment range. All modern machines they know how to regulate the speed, so you should pay attention to the upper and lower limits of this range. Thus, low speeds are suitable when you need to roughly process a workpiece in the form of a parallelepiped, and high speeds will be used for finishing processing, when you need to obtain a smooth surface.
As for the device, then key elements lathe can be called:
- cutter holder – allows you to securely fix the cutter and move it in 2 directions during operation (along the workpiece and in the transverse direction);
- headstock - in conventional machines it is located on the left (if the turner is right-handed). It consists of elements such as a drive mechanism and a spindle, the center of which rotates during operation, causing the workpiece to rotate.
Note! Instead of a spindle, a faceplate can be installed at the end of the headstock - a device that is necessary in the case of an end value.
- tailstock - used to fix the second end of the workpiece; its end rotates freely, so that nothing will interfere with the rotation of the workpiece.
Second an important condition safe work A finely grooved chisel requires that it always be directed down the slope, i.e., towards a smaller diameter. This tool is usually sharpened at 30°. this operation is very convenient to carry out
using a special device that I made for sharpening deep-grooved chisels, slightly changing its setting. The chamfer turns out perfectly smooth without edges. This device will be described later in another article, but now it should be clarified that instead of a finely grooved chisel to form the profile of a vase, you can use a deeply grooved one with a less jerky character, which is what I often do.
Photo 6 shows the finishing scrape of a turned outer surface vases with the wings of a finely grooved chisel, which is held at 45° to the surface of the part. Final alignment workpieces with a longitudinal arrangement of wood fibers can also be made using a jamb chisel, as shown in photo 7. True, it has a very rough character and even poses a danger, since when broken it can fly out of the hands and injure the turner. At the same time, in the hands of an experienced specialist, such a tool is universal, allowing you to turn almost anything, but only with a lobe arrangement of wood fibers, i.e., when turning transversely, a jamb chisel is absolutely inapplicable. By the way, its blade must be sharpened at 25° on the platform of the electric sharpener tool.
Having completed the formation of the external profile of the vase and leveled its surface, as well as applying small decorative beads and grooves with a finely grooved chisel (photo #), I wet sand the product sandpaper P220 grit. why I dip the “skin” in a plate of water and spray the surface with a sprayer. This sanding is preliminary. and in the future, after drying the product, final finishing will be required. Next, I cut off the supporting protrusion on the bottom of the vase with a thin cutting chisel (photo 9) and clamp the bottom in a chuck with the product supported by the tailstock (photo 10) for a tight fit of the front plane of the jaws to the bottom of the vase. The next step There will be a deep hole drilled in the neck of the vase, but since it is long, for reliability I decided to additionally fix the neck in a lunette (photo 11), the use of which is a common practice when turning vases.
Steady rests for small lathes are not sold; you have to make them yourself. My three-wheeled steady rest (such devices also come in two- and four-wheeled versions) is made of 40 mm thick plywood. The workpiece hole diameter is 220 mm, and the roller skate wheels with precision bearings ensure relatively quiet operation. I had just installed the steady when I needed to interrupt my work: I had to take a roll of cling film and wrap it around the vase (photo 12), otherwise the product made from damp apple wood (an extremely “crackling” species) would certainly have cracked during my absence. By the way, I also use this film to wrap half-finished bowls made of weak, very rotten wood to prevent them from flying apart into pieces when boring the internal cavity. The vase I conceived was supposed to be universal, that is, suitable for both artificial and fresh flowers. In the latter case, the water should be poured into some suitable small vessel, for example, a glass test tube 200 mm long and 20 mm in diameter, placed inside a vase (photo 13).
I didn't find a suitable one long drill(such as a Lewis or feather spiral with grooves for removing chips) for making a hole in the neck of the vase. I had to attach a simple flat “perk” 22 mm wide from a Soviet-era production kit onto a long (300 mm) steel rod with a diameter of 10 mm and clamp it in a powerful drill chuck with a Morse taper (photo 14). The very short base of my machine did not allow me to insert the cartridge into the pi-zero of the tailstock, and the thickness of the rod of the created device did not make it possible to secure it in a 10 mm cartridge conventional drill(9 mm). As a result, when drilling a deep hole in the neck of a rotating vase, I simply had to hold the cartridge in my hand with great effort, resting the rod on the tool rest. Photos 15 and 16 show the initial and final stages of this process. By the way, for convenience further use the test tube inserted into the neck of the vase should protrude approximately 5 mm from there.
At the stage finishing bottom, i.e. removing dents from the chuck jaws and leveling the end, it was necessary to unroll the almost finished vase on the machine. First, I machined a support faceplate with a recess for the diameter of the neck (photo 17). placed it there and supported the bottom with a crown center, into which he inserted an additional homemade narrow nozzle. When I later turned other vases of approximately the same shape, I simply carefully clamped the neck in the chuck using small F-type jaws, placing a strip of plastic more than 1 mm thick under them. A piece of coaxial (antenna) cable will also work as a softening pad.
Photo 18 shows the search for the center on the bottom when for some reason it was not marked or disappeared. The runout is marked with a black felt-tip pen, then you need to tap the mark with a mallet and move the workpiece so that the desired center is in its place. After this, the bottom is processed using a deep-grooved or shallow-grooved chisel (photo 19)
Upon completion of turning, the vase must be dried without cracking. In air, the formation of cracks is almost inevitable, which is aggravated large thickness vases in the lower part (the thinner the walls of the product, the higher the chance of avoiding cracks, as well as some warping). I dry my products made from raw wood in one of two ways: either I put them in a paper craft bag filled with wet shavings of the same wood (photo 20), or I fill the product itself with these shavings, which I then wrap in two layers of newspaper and place on a shelf in barn. The latter method is especially convenient and effective for bowls and plates with walls 4-8 mm thick, which dry in about two weeks in summer without cracking or warping.
Unfortunately, the formation of cracks in the thick lower part of the apple tree vase could not be avoided even after drying for two months in a craft bag, and circumstances did not allow drying longer. It was necessary to seal the cracks by gluing thin plates of the same material, sawn on band saw and then processed with grinder Proxhop with carbide disc and Black&Decker electric file. The inlays turned out to be almost invisible, but this additional work forced me to reconsider the technique of turning the vases in order to make their lower parts hollow to reduce the likelihood of cracking.
I must say that from the very beginning I was nagged by doubts about the legitimacy of the simplified approach, limited to simply drilling a narrow channel in the neck, which can be seen in a number of videos on the Internet. I used to bore cavities in the bottom of vases, but this always presented various difficulties. True, I rarely made vases. Last summer I made a series of vases of a similar shape, and the problem had to be solved radically. From the very beginning, a protrusion is turned at both ends of the cylindrical workpiece. Having formed external profile bottom of the vase, you should immediately begin boring its cavity using a steady rest, holding the workpiece in the chuck by the protrusion at the neck. Using a deep or shallow grooved chisel, a hole with a diameter of about 50 mm is bored. through which it will then be possible to insert any of the curved chisels - hinged, with a carbide nozzle or a cutter-nozzle (photo 21), and the residual wall thickness is constantly monitored by calipers.
Upon completion of the boring process, it is necessary to turn separately from the same wood material a plug of suitable diameter and glue it into the hole in the protrusion (bottom). Here you should estimate the depth of protrusion of the plug into the cavity so that the test tube, which will subsequently rest on it, extends outward by the above-mentioned 5 mm. If the test tube falls into the neck, an additional hassle will arise with gluing a piece of wood to the bottom of the vase through a narrow channel.
I cut off the part of the glued plug that protrudes outward on a band saw. Next, the bottom will be finally processed in the manner already described above.
If the vase has a different shape with a much wider neck, then
The tag will not work here as a vessel with water. What to do? The solution came quite quickly when I took a half-rotten birch suvel with a bright texture, harvested a couple of years ago in the forest, and turned it into a vase with a neck with a diameter of 35 mm. Next, in my supplies, I found a two-meter bright green plastic tube with a diameter of 32 mm and cut a piece about 160 mm long from it on a band saw, deciding to turn it into the required vessel. First, using a gas microburner, I made sure that this plastic is not thermoplastic, i.e., it will not be possible to weld the desired container from it. I had to turn to gluing, first by sawing off another small piece from the original tube and making an additional partial cut on it. Using an industrial hair dryer, I heated the section until it was soft. unfolded it flat, placed it under the press, and after the leveled piece of plastic cooled, using a compass, I drew on it the outline of a circle, which will play the role of the bottom in a tube vessel. Next, I quite accurately, albeit by eye, brought it
size according to internal diameter tubes (28 mm) using a Black&Decker electric file (photo 22). I drove the circle into the tube to a depth of approximately 3-5 mm and filled the outside with a thick layer of fairly universal waterproof superglue “Master” based on vinyl acetate copolymers, which I had had for ten years (photo 23). Bright color The vessel seemed vulgar to me, so I painted it with brown quick-drying nitrocellulose enamel. Subsequent exposure to water for a month showed the tightness of the manufactured vessel, and the general aesthetic properties of the turned vase with a living goldenrod branch can be assessed in photo 24.
Finally, I would like to note that stores sell a wide variety of plastic water pipes, from which you can easily make any vessels for fresh flowers and place them inside turned wooden vases. Photo 25 shows a number of such products that I created last summer from various breeds wood using the method described above.
DIY wooden vase - photo
Photo 1. Cross-cutting a log on a trestle. Photo 2. Sharpening a roughing chisel on an electric sharpener. Photo 3. Rough processing of the workpiece with a roughing chisel. Photo 4. Forming a protrusion at the end of the cylinder for the cartridge using a cutting chisel. Photo 5. Forming the outer profile of the vase using a finely grooved chisel. Photo 6. Finish scraping the surface with a finely grooved chisel. Photo 7. Finishing the surface using a jamb. Photo 8. Applying decorative beads and grooves with a finely grooved chisel. Photo 9. Trimming the support protrusion with a thin cutting chisel.
Photo 10. Clamping the bottom of the vase in a chuck with support from the tailstock. Photo 11. Fixing the neck of the vase in a homemade lunette. Photo 12. Sealing the vase with cling film. Photo 13. Glass test tube. Photo 14. Homemade perk
Photo 15. Start of drilling a blind hole for a glass test tube.
Photo 16. Stopper in the hole of the vase. Photo 17. Turning the support plate with a hole for the neck of the vase. Photo 18. Reverse fixation of the vase and search for the center at the bottom. Photo 19. Additional processing of the bottom with a finely grooved chisel.
Wooden vases look very beautiful. Usually made on a lathe. But 90% of the wood turns into chips.
There is a technology that allows you to make a vase from a flat panel.
Here's what happens:
It took me a long time to choose the material to test. On the one hand, you want something interesting, on the other hand, you don’t mind spoiling it.
In the end, I settled on walnut, with oak and wenge inserts.
A walnut board 75mm wide and 15mm thick is cut into 3 parts.
4mm oak veneer must be cut into 15mm dies.
How to do it if not circular saw, but have a couple of clamps and a scoring saw?
Like this - the fist is clamped between the nut dies...
And sawing.
The result is an even die of the required thickness:
I glue the walnut into a shield with spacers - two oak dies, between them a thin wenge veneer. (which was sawn using the same technology)
Scratches from the saw are visible. A slight sloppiness, plus solid oak, which was sawed along the grain.
No big deal, the shield will still have to be sanded to even out gluing errors.
And again I glue it with spacers and leave it overnight:
I use a belt sander to level the shield and remove any remaining glue. Perhaps we should have made the wenge continuous:
The result was a shield 14 mm thick. It took 0.5 mm on each side.
Based on the shield and the desired dimensions of the vase, the angle and pitch are selected:
I print the drawing, use an awl to combine the centers of the shield and the drawing, glue the drawing:
I cut a small rake at an angle of 38 degrees:
I fix the shield with clamps on the jigsaw table and using the rail as a guide, I drill 2mm holes with a drill at an angle of 38 degrees:
I insert a file into the hole:
And let's go!
I cut the first ring:
And here it is - the bottom!
The wood is very hard, it is sawed slowly, if you press it a little, the file will burst. To replace the file, you need to return the table to a horizontal position, unscrew the fastenings of the file, thread the shield, again adjust it to 38 degrees, adjust the tension... Moreover, the file almost always breaks when there is 3 cm left before the end of the ring.
Second ring, the picture begins to emerge.
Bottom view:
And after the fourth ring, the files ran out. I used one and a half packs. No more, I'm putting it off until tomorrow.
I stopped by the store, bought 8 packs of saws (to be sure there would be enough), and sawed:
I'll move the rings:
Sleight of hand and no fraud, the rings are folded into a vase:
Can be combined with shift. You can make inserts between layers. There are plenty of options.
I start gluing without a bottom for now, to make it easier to sand the inner surface:
Checking the alignment of layers:
I leave it overnight under load:
Result. The surface is rough, but the alignment of the lines is without serious disturbances.
The darkening is traces of sawing with an ultra-thin file (41 teeth per inch), which sank into sawdust and the wood burned.
It is necessary to level the inner surface.
Attempt number one - a steel rod with sandpaper glued to double-sided tape.
Not an option, too flexible.
Attempt number two, sanding drum on the same spindle.
Doesn't fit either lightweight machine(as I intended it to be). Doesn't hold up, plus it's inconvenient to work with.
Attempt number three. Sanding drum on a flexible sleeve.
The drum is small, sawdust flies where it is least needed, but you can work:
For fine grinding, I collect petals of 400 sandpaper:
But it doesn't polish. I continue with my hands.
It takes a lot of time, the surface is far from ideal.
I discover an error - the penultimate ring is glued with an offset of 180 degrees.
Well, this will be a reminder...In the end, it could have been much worse. Let it add charm - it will be a border. The main thing is that the spacers aligned properly.
The biggest nuisance is the sweat that pours into your eyes and falls onto the vase.
The respirator was once snow-white:
I glue the bottom. To speed up the process, I use my weight with dumbbells in my hands as a press... The vase can withstand more than 100 kg without squeaking, despite its lightness and thin walls. Now I’m thinking, what would have happened if the vase had shattered?