Nastupili smo na: XV danima tehničke kulture 2026

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• Nastupili smo na: XV danima tehničke kulture 2026

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      string(43) "We attended: Days of Technical Culture 2026"
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  	On Friday and Saturday, 18 and 19 Sept 2026, we participated in the Technical Culture Days at the Technical Museum. At our stand, visitors could discover the world of miniatures, and we were especially delighted by the interest shown by children who picked up a paintbrush for the first time.
  
  	  
  
  	Kruno and the team did a fantastic job guiding them through the initial steps of coloring. There was a mix of concentration, joy, and the occasional serious question about which color best suited the little hero. Interest was so high that the workspace around our stand quickly became cramped. For next year, we would love to see more space for workshops so that everyone can sit down comfortably and try their hand at painting.
  
  	  
  
  	  
  
  	  
  
  	I have participated in the Technical Culture Days for years, ever since the event was held in Dubrava. For me, the Nikola Tesla Technical Museum represents a major step forward: the venue lends a special atmosphere to the event, and the turnout this year was phenomenal. I was also pleasantly surprised by the other exhibitors' stands. It was a real pleasure to walk among them and see the fascinating things people are creating and sharing with visitors.
  
  	  
  
  	  
  
  	  
  
  	You can find more photos on our social media.
  
  	  
  
  	On Friday, our Marko gave a presentation titled "Miniaturism – A World in Miniature," in which he described to all those present the projects and programs organized by the Association, as well as everything we offer to our fellow citizens!
  
  	  
  
  	  
  
  	  
  
  	
  
  	Thank you to everyone who stopped by, asked a question, or painted their first miniature. I look forward to next year—with just as many curious visitors and, I hope, a few more tables for brushes.
  "
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  	U petak i subotu, 18. i 19. rujna 2026., smo sudjelovali na Danima tehničke kulture u Tehničkom muzeju. Na našem su štandu posjetitelji mogli upoznati svijet minijatura, a najviše nas je razveselio interes djece koja su prvi put uzela kist u ruke.
  
  	  
  
  	Kruno i ekipa sjajno su ih vodili kroz prve korake bojanja. Bilo je koncentracije, veselja i pokojeg ozbiljnog pitanja o tome koja boja najbolje pristaje malom junaku. Interes je bio toliko velik da nam je prostor za rad oko štanda brzo postao tijesan. Za iduću godinu voljeli bismo vidjeti nešto više mjesta za radionice, kako bi svatko mogao mirno sjesti i okušati se u bojanju.
  
  	  
  
  	  
  
  	  
  
  	Na Danima tehničke kulture sudjelovao sam godinama, još dok su se održavali u Dubravi. Tehnički muzej Nikola Tesla za mene je velik korak naprijed: prostor daje događaju posebnu atmosferu, a posjećenost je ove godine bila fenomenalna. Štandovi drugih izlagača također su me ugodno iznenadili. Bilo je pravo zadovoljstvo prošetati među njima i vidjeti koliko zanimljivih stvari ljudi stvaraju i dijele s posjetiteljima.
  
  	  
  
  	  
  
  	  
  
  	Više fotografija pogledajte na našim društvenim mrežama
  
  	
  
  	U petak, naš Marko je održao predavanje pod nazivom MINIJATURIZAM – Svijet u malom u kojem je svim prisutnima opisao projekte i programe koje Udruga organizira i što sve nudimo našim sugrađanima!
  
  	  
  
  	  
  
  	  
  
  	
  
  	Hvala svima koji su zastali kod nas, postavili pitanje ili obojali svoju prvu minijaturu. Veselim sei dućoj godini — uz jednako puno znatiželjnih posjetitelja i, nadam se, koji stol više za kistove.
  "
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  Marko Paunović, 23.09.2026.
• Agram Group Build #7 – Amon Hen, dio 1

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  	Agram Group Build is back. For this seventh installment, the team decided to create a gaming board/diorama for Amon Hen. To that end, we fulfilled a childhood dream and acquired the original Forge World Amon Hen terrain (released around 2000) along with the accompanying set of miniatures. This series of articles will document the entire project—from crafting the terrain to assembling and painting the miniatures.
  
  	  
  
  	The idea from the start was to create a diorama of the famous scene from *The Lord of the Rings* where Boromir falls in battle and the Uruk-hai abduct two—fortunately, the wrong—Hobbits. Ideally, we envisioned everything fitting onto a 40 x 40 cm board. So, the first step was to verify this; we used two sheets of A3 paper to create a square of roughly the desired size.
  
  	  
  
  	Figures and terrain fit perfectly for the board of that size. However, this should also be a diorama, so we checked how everything works together with vegetation. Fortunately, before the terrain and figures arrived, we also acquired appropriate autumn trees.
  
  	  
  
  	Once the concept was confirmed, we could get to work on making the base for the board. We used a 130 x 40 x 2 cm plank—originally a shelf—for this purpose. We marked two diagonals on it to outline a 40 x 40 cm square, then applied masking tape over the area to protect the wood during sawing.
  
  	  
  
  	Then, we cut the board to the desired size using a circular saw. After cutting, we sanded both cut edges.
  
  	  
  
  	And with that, preparations for the first collaborative project are complete. We have everything ready for the presentation at the Technical Culture Days, where our Marko will conduct demonstration workshops—specifically, demonstrations on creating a spatial model—based on this very project.
  
  	  
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  	Agram Group Build se vraća. U svojoj sedmoj instalaciji, ekipa je odlučila izraditi igraću tablu / dioramu za Amon Hen. Za tu potrebu, ispunili smo si dječačke sne i nabavili originalni Forge World teren Amon Hena (izašao negdje cca 2000.) sa setom pripadajućih figura. Ova serija članaka pratit će izradu cijelog projekta – kako izrade terena, tako i sastavljanja i bojanja figura.
  
  	  
  
  	Ideja od početka bila je da napravimo dioramu poznate scene iz Gospodara prstenova gdje Boromir pogiba, a Uruk Hai otimaju dva, srećom pogrešna, Hobita. Idealno u našim zamislima sve bi stalo na tablu 40 x 40 cm. Stoga prvo je to trebalo provjeriti. Od dva A3 papira napravili smo kvadrat otprilike željene veličine.
  
  	  
  
  	Figure i teren taman pašu za tablu te dimenzije. Međutim, ovo bi trebala biti i diorama, stoga smo provjerili kako sve zajedno funkcionira i sa vegetacijom. Na svu sreću, prije nego su došli teren i figure, nabavili smo i prigodno jesensko drveće.
  
  	  
  
  	Kad smo potvrdili koncept, mogli smo se baciti na izradu baze za tablu. Za to nam je poslužila daska 130 x 40 x 2 cm koja je služila kao polica. Na nju smo ucrtali dvije dijagonale i na taj način dobili kvadrat veličine 40 x 40 cm. Zatim smo preko toga prelijepili krep traku kako bismo dasku zaštitili prilikom piljenja.
  
  	  
  
  	Zatim smo ispilili dasku na željenu veličinu ručnim cirkularom. Nakon piljenja smo pobrusili oba rezana ruba.
  
  	  
  
  	I time su pripreme za prvi zajednički rad završene. Sve smo spremili i pripremili za nastup na Danima tehničke kulture gdje će naš Marko upravo na ovom projektu držati ogledne radionice odn. demonstracije izrade prostorne makete.
  
  	  
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  Marko Paunović, 14.09.2026.
• Posjetili smo: H.R.E.N. 28 - 2026., Medvode, Slovenija

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  	Another success for the Hren organizers! Of the two-day event, the first day was dedicated to the Turnip28 game, and the second to an original game designed by the hosts. Like last year, the tables and courts exceeded the expectations of the players, the scenarios were imaginative, and I enjoyed the interaction between the tables during the game. For example, my first game involved rubbing horseradish roots on the figures during the game, including other tables in the hall. The next day, we played as a fun cooperative game in pairs, in which each pair of players had their own kit-bashani spaceship (which we made before or during the event) with which we had to pick up Tod (a character from last year) and return him to Earth. There was no shortage of chaos. The hosts from Amulet tried to make us comfortable and not hungry or thirsty during the entire event, and I can only say words of praise for their effort and engagement!
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
  
  	
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  	Još jedan uspjeh za organizatore Hren-a! Od dva dana eventa, prvi dan je bio namijenjen igri Turnip28, a drugi za originalnu igru smišljenu od strane domaćina. Kao i prošle godine, stolovi i tereni su nadmašili očekivanja igrača, scenariji su bili maštoviti i zabavljala me interakcija između stolova tijekom igre. Na primjer, moja prva partija uključivala je ribanje korijena hrena po figurama tijekom igre, uključujući i druge stolove u dvorani. Idući dan smo igrali jako zabavnu zajedničku igru u parovima, u kojoj je svaki par igrača imao svoj kit-bashani svemirski brod (koji smo izrađivali prije ili tijekom eventa) kojim smo trebali pokupiti Toda (lik od prošle godine) i vratiti ga na Zemlju. Kaosa nije falilo. Domaćini iz Amuleta su se trudili da nam bude ugodno i da ne budemo ni gladni ni žedni tijekom cijelog vremena održavanja manifestacije i mogu reći samo riječi hvale na trud i angažman!
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
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  Mario Grgurev, 07.09.2026.
• Izrada scenske baze za Agramere v.2

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  	In this article, I will briefly describe the process of creating a scene base for Agramer v.2, from idea to creation, painting, adding vegetation, and finally casting the slices.
  
  	  
  
  	The first step in the creation is the idea. For this project, it wasn't too difficult for me, because I participated in (creating) how the figures themselves should look. Therefore, I already had them arranged in some groups in my head. Orc, troll and goblin in one; vampire, Frankenstein's monster and werewolf in another; desert Zorro and sheriff; Highland/Scottish Braveheart, dwarf and bard; and forest Robin Hood, Elf Mage and Elf Enchantress. In the end, there remains the gnome and Jack Sparrow who goes to the island. Inside the purchased frame, I placed the figures, and drew the outlines of the terrain.
  
  	  
  
  	After that, I added volume to the base using 2 cm and 5 cm thick HD Styrofoam, slowly shaping the final look of the terrain. I also tried out the look with the figures in each iteration.
  
  	  
  
  	  
  
  	  
  
  	  
  
  	Once I was happy with the look, I tackled the problem of locking the figures. Since this base is primarily intended for transportation and display at various performances, I wanted the figures to be attached to the base quite firmly, but still be able to be removed from it. From experience, it is best to use magnets for this. They are difficult to attach, or rather glue, to Styrofoam. Therefore, I had to make slots for the figures from balsa, in which I drilled holes for the magnets. When placing them, make sure that all the magnets on the base are facing the same way - so that you can move the figures to other places if necessary. Also, turn the magnets to the opposite side when placing them in the figure bases. The easiest way to do this is to mark the side of the magnet on which you will put the glue.
  
  	  
  
  	  
  
  	Then, using DAS clay, I created transitions and smoothed out individual parts to make them look natural.
  
  	  
  
  	  
  
  	The next step was to build the building. I decided on a Burton-esque haunted house design with a turret. I built it out of balsa, cutting each slat individually. I made the roof out of sandpaper sheets.
  
  	  
  
  	  
  
  	Then I added texture. I used pebbles and sand in several granulations which I glued together using PVA glue. In parallel with this process, I drilled holes for the trees and tested how it worked.
  
  	  
  
  	Painting was the next step. As always, I used PEBEO DECO acrylic paints. Black, gray, white, brown, and ochre are the shades I most often use to get a uniform look for my courts.
  
  	  
  
  	After painting, it was time for the vegetation. I placed two or three types of 5-7 mm tufts and static grass. In addition, I placed trees that I glued using PVA glue.
  
  	  
  
  	  
  
  	The last step was pouring the resin for the sea. I use two-component Gedeo Crystal Resin, which I tint with Pebeo Vitrail. First, you need to mix the two resin components well in a volume ratio of 1:2. When it is well mixed, I add Vitrail color drop by drop to the resin until I am satisfied with the tone of the resin. I pour the resin from the container so that it drips over the stick, this way I get rid of air bubbles that are created by mixing.
  
  	  
  
  	This completed the creation of the stage base. Below is a short gallery of close-ups of the base with figures.
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
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  	U ovom članku ću opisati ukratko proces izrade scenske baze za Agramere v.2 od ideje do izrade, bojanja, stavljanja vegetacije i na kraju ulijevanja rezina.
  
  	  
  
  	Prvi korak u izradi je ideja. Za ovaj projekt, to mi i nije bilo pretjerano teško, jer sam sudjelovao (osmišljao) kako same figure trebaju izgledati. Samim time, već sam ih u glavi imao posložene u neke grupe. Ork, trol i goblin u jednoj; vampir, Frankensteinovo čudovište i vukodlak u drugoj; pustinjski Zorro i šerifica; highlandski/škotski Braveheart, patuljak i bardica; te šumski Robin Hood, Elf Mage i Elf Enchantress. Na kraju ostaje gnom i Jack Sparrow koji ide na otok. Unutar kupljenog okvira postavio sam figure, i iscrtao obrise terena
  
  	  
  
  	Nakon toga, dodavao sam volumen bazi pomoću stirodura debljine 2 cm i 5 cm, polako oblikujući konačan izgled terena. Također u svakoj iteraciji sam i isprobavao izgled sa figurama.
  
  	  
  
  	  
  
  	  
  
  	  
  
  	Kada sam bio zadovoljan s izgledom, bacio sam se na problem uglavljivanja figura. S obzirom da je ova baza primarno namijenjena za transport i izlaganje na raznim nastupima, htio sam da figure budu pričvršćene za bazu podosta jako, ali da se i dalje daju maknuti s nje. Za to, iz iskustva, najbolje je koristiti magnete. Njih je teško pričvrstiti, odnosno zalijepiti, za stirodur. Stoga sam morao izraditi utore za figure od balze u koje sam ubušio rupe za magnete. Prilikom postavljanja, pazite da svi magneti na bazi budu okrenuti na istu stranu – tako da možete prema potrebi i pomicati figure na druga mjesta. Također, magnete okrenite na suprotnu stranu kad ih postavljate u baze figura. To je najjednostavnije odraditi tako da označite stranu magneta na koju stavljate ljepilo.
  
  	  
  
  	  
  
  	Zatim sam koristeći DAS glinamol izradio prelaze i zagladio pojedine dijelove da izgledaju prirodno.
  
  	  
  
  	  
  
  	Sljedeći korak bila je izrada zgrade. Odlučio sam se za burtonovski dizajn uklete kuće s tornjićem. Izgradio sam ju od balze, svaku letvicu izrezujući zasebno. Krov sam napravio od ploča brusnog papira.
  
  	  
  
  	  
  
  	Zatim sam dodao teksturu. Koristio sam kamenčiće i pijesak u nekoliko granulacija koje sam zalijepio koristeći PVA ljepilo. Paralelno s tim procesom, izbušio sam rupe za drveće i isprobao kako funkcionira.
  
  	  
  
  	Bojanje je bio sljedeći korak. Kao i uvijek koristio sam PEBEO DECO akrilne boje. Crna, siva, bijela, šmeđa i oker su nijanse koje najčešće koristim da dobijem uniforman izgled svojih terena.
  
  	  
  
  	Nakon bojanja došao je red na vegetaciju. Postavio sam dvije, tri vrste 5-7 mm tuftova i statičku travu. Pored toga, postavio sam i drveće koje sam zalijepio koristeći PVA ljepilo.
  
  	  
  
  	  
  
  	Zadnji korak bio je ulijevanje rezina za more. Koristim dvokomponentni Gedeo Crystal Resin kojeg obojim Pebeo Vitrail bojom. Prvo je potrebno dobro umiješati dvije komponente rezina u volumnom omjeru 1:2. Kada je dobro umiješan, u rezin dodajem kap po kap Vitrail boje dok nisam zadovoljan tonom rezina. Rezin ulijevam iz posude da curi preko štapića, na taj način rješavam se balončića zraka koji nastaju miješanjem.
  
  	  
  
  	Time je završila izrada scenske baze. U nastavku slijedi kratka galerija krupnih planova baze sa figurama.
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
  
  	  
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  Marko Paunović, 15.07.2026.
• Principi pigmentacije: Veziva i otapala - što drži boju na mjestu i što joj omogućuje da teče

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      string(9820) "
  
  	So far in this series, we've written about the visible and tangible properties of paint — why paint has a certain shade, why it covers or doesn't cover, why it flows more easily or more slowly. This article is about what lies beneath it all: binders and solvents, the components that determine what remains on the surface when everything else evaporates.
  
  	  
  
  	1. What is a binder and what is its role
  
  	A binder is a component of paint that holds pigment and filler particles together and ensures their adhesion to the substrate. When the paint dries or sets, the binder forms a continuous film that encapsulates the pigment and protects it from mechanical and chemical influences. The binder determines most of the application properties of the finished paint: film flexibility, hardness, gloss, chemical resistance, adhesion and durability. Two coatings with the same pigment but different binders can behave completely differently — one may be flexible and waterproof, the other brittle and sensitive to moisture.
  
  	2. How a binder works — film formation
  
  	Depending on the type of binder, the film is formed in one of two basic ways:
  
  	• Physical drying
  
  	• Chemical crosslinking (polymerization) Acrylics technically undergo physical drying — water evaporates, and acrylic polymer particles combine into a film through a process called coalescence.
  
  	Once formed, the acrylic film is chemically stable and practically insoluble in water, but soluble in some organic solvents.
  
  	  
  
  	3. Types of binders
  
  	Acrylic binders
  
  	Acrylic binders are synthetic polymers dispersed in water (latex). They are the most widely used in modern use — they are used in acrylic paints for miniatures, wall paints, primers and varnishes. Characteristics:
  
  	• Water is the solvent — easy cleanup, low toxicity
  
  	• Fast drying — an advantage for working in layers, a disadvantage for wet-on-wet techniques
  
  	• Flexible and waterproof film after drying
  
  	• The color changes slightly when drying — acrylics are known to darken as they dry (due to a change in the refractive index of the binder)
  
  	Oil binders
  
  	Oil paints use drying oils as a binder — most often linseed oil, but also walnut, poppy and safflower. Each oil has slightly different properties: linseed oil dries the fastest and gives a strong film, but it can turn yellow over time; poppy and safflower oils are less yellow but dry more slowly. Features:
  
  	• Drying by oxidative polymerization — slow (hours to days), but the film is extremely durable
  
  	• Long open time — ideal for wet-on-wet techniques and mixing on the palette
  
  	• Rich, deep gloss that acrylics have difficulty reproducing
  
  	• Solvents are organic — mineral organic solvents (white spirit, xylene, etc.)
  
  	• Some pigments in oil-based paints can yellow over time due to the binder
  
  	Alkyd binders
  
  	Alkyds are synthetic polymers based on oils and acids — a kind of modernization of oil binders. They dry by oxidative polymerization like oils, but faster and with more predictable properties. They are common in industrial coatings, primers, and decorative paints for metal and wood. Characteristics:
  
  	• Faster drying than pure oils, but slower than acrylics
  
  	• Hard and resistant film — good chemical and mechanical resistance
  
  	• Solvents are organic — mineral organic solvents (white spirit, xylene, etc.)
  
  	• May turn yellow over time, similar to oil binders
  
  	Gum arabic and other water-soluble binders
  
  	Gum arabic is a natural resin used as a binder in watercolors and some inks. It is soluble in water and dries by physical drying — the film remains soluble in water even after drying, which is a characteristic of watercolors (possibility of reactivation). In the same category of water-soluble binders are casein (from milk), egg tempera (egg yolk as an emulsion of oil and water) and gouache binders. Each of them gives a different film with different properties.
  
  	  
  
  	4. What are solvents and what is their role
  
  	A solvent is a substance that dissolves or disperses a binder, thereby controlling the viscosity of the paint, enabling its application, and determining the drying speed. After application, the solvent evaporates — and this evaporation process is actually the first stage of “drying” the paint. It is important to distinguish a solvent from a thinner. A true solvent dissolves the binder — it molecularly breaks it down and homogeneously incorporates it into the solution. A thinner only lowers the viscosity, but does not necessarily dissolve the binder. In practice, these terms are often used interchangeably, but the difference becomes important when talking about compatibility.
  
  	5. Types of Solvents
  
  	Water
  
  	Water is a solvent for acrylic binders, gum arabic, and other water-soluble binders. The advantages are low toxicity, no flammability, and easy cleanup. Disadvantages include relatively slow evaporation compared to organic solvents and sensitivity to temperature and humidity — drying is significantly slowed down at low temperatures or high humidity.
  
  	Turpentine and mineral organic solvents
  
  	Turpentine is a natural distillate of coniferous resin and a traditional solvent for oil paints and alkyds. It has a characteristic odor and good solvating effect. Due to its strong odor and potential toxicity with prolonged exposure, in modern use it is increasingly being replaced by mineral organic solvents (white spirit, xylene, etc.) or odorless isoparaffin-based thinners. Mineral organic solvents are a fraction of petroleum with a slightly milder odor than turpentine, but similar properties. Odorless thinners are more refined and have minimal odor — more suitable for indoor use.
  
  	Isopropanol and ethanol
  
  	Alcohols are used as solvents for some types of inks, varnishes, and shellacs. Isopropanol (IPA) is widely available and is used for cleaning brushes, thinning alcohol-based inks, and various technical applications. It is not compatible with acrylic binders in large quantities — it can destabilize the emulsion.
  
  	6. Binder-solvent interaction
  
  	Each binder has its own compatible solvents — those that dissolve or disperse it properly. Using an incompatible solvent can lead to: • coagulation — the binder precipitates out of solution in the form of lumps • emulsion destabilization — the paint separates into phases • poor film formation — the paint does not bond properly, remains sticky, or peels • dissolution of previously applied layers — especially a problem with varnishes and topcoats A practical example: acrylic paints are water-based. Adding mineral spirits or turpentine to acrylic paint will not thin it — it will cause the binder to coagulate and destroy the paint. Conversely, adding water to oil paint does not thin it properly — water and oil do not mix.
  
  	7. Media, additives and retarders
  
  	Media are formulated additives that modify the properties of the paint without disturbing the ratio of the components. For acrylic paints, these can be: drying retarders (retarders) that extend the open time and enable wet-on-wet techniques, liquid media that lower viscosity while maintaining gloss, matte media that reduce gloss, or glaze media that increase transparency. For oil paints, the media can be: varnish (damar, mastic) which accelerates drying and gives shine, siccatives (driers) which chemically accelerate oxidative polymerization, but whose excessive use can cause the film to crack over time. General rule: media are formulated for specific binders and should not be used interchangeably. Acrylic paint medium will not work in oil paint and vice versa.
  
  	Conclusion
  
  	The binder is what makes the pigment and solvent into paint — it forms a film, holds the pigment to the substrate, and determines the durability of the coating. The solvent controls the viscosity and drying speed, but it must be compatible with the binder. Understanding this trio — pigment, binder, solvent — provides a solid foundation for understanding almost any paint or coating you will work with.
  "
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  	Dosad smo u ovoj seriji pisali o vidljivim i opipljivim svojstvima boje — o tome zašto boja ima određenu nijansu, zašto pokriva ili ne pokriva, zašto teče lakše ili teže. Ovaj tekst bavi se onim što je ispod svega toga: vezivima i otapalima, komponentama koje određuju što ostaje na podlozi kad sve ostalo ispari.
  
  	  
  
  	1. Što je vezivo i koja mu je uloga
  
  	Vezivo je komponenta boje koja drži čestice pigmenta i punila zajedno i osigurava njihovo prianjanje na podlogu. Kada boja osuši ili veže, vezivo formira kontinuirani film koji enkapsulira pigment i štiti ga od mehaničkih i kemijskih utjecaja. Vezivo određuje većinu uporabnih svojstava gotove boje: fleksibilnost filma, tvrdoću, sjaj, kemijsku otpornost, adheziju i trajnost. Dva premaza s istim pigmentom ali različitim vezivima mogu se ponašati potpuno drukčije — jedan može biti fleksibilan i vodootporan, drugi krhak i osjetljiv na vlagu.
  
  	2. Kako vezivo funkcionira — formiranje filma
  
  	Ovisno o vrsti veziva, film se formira na jedan od dva osnovna načina:
  
  	• Fizikalno sušenje
  
  	• Kemijsko umrežavanje (polimerizacija) Akrili tehnički prolaze kroz fizikalno sušenje — voda isparava, a čestice akrilnog polimera se spajaju u film procesom koji se zove koalescencija.
  
  	Jednom formirani akrilni film je kemijski stabilan i praktično neotopiv u vodi, ali topiv u nekim organskim otapalima.
  
  	  
  
  	3. Vrste veziva
  
  	Akrilna veziva
  
  	Akrilna veziva su sintetički polimeri dispergirani u vodi (lateks). Najrasprostranjenija su u suvremenoj upotrebi — koriste se u akrilnim bojama za minijature, zidnim bojama, temeljnim premazima i lakovima. Karakteristike: • Otapalo je voda — lako čišćenje, niska toksičnost • Brzo sušenje — prednost za rad u slojevima, mana za tehnike mokro-na-mokro • Fleksibilan i vodootporan film nakon sušenja • Boja se lagano mijenja pri sušenju — akrili su poznatih po tome da tamne dok se suše (zbog promjene indeksa refrakcije veziva)
  
  	Uljana veziva
  
  	Uljane boje koriste sušiva ulja kao vezivo — najčešće laneno ulje, ali i orašasto, makovo i saflorovo. Svako ulje ima nešto drugačija svojstva: laneno ulje suši najbrže i daje čvrst film, ali može s vremenom požutjeti; makovo i saflorovo ulje manje žute ali sporije suše. Karakteristike:
  
  	• Sušenje oksidativnom polimerizacijom — sporo (sati do dani), ali film je iznimno trajan
  
  	• Dugo otvoreno vrijeme — idealno za mokro-na-mokro tehnike i miješanje na paleti
  
  	• Bogat, duboki sjaj koji akrili teško reproduciraju • Otapala su organska — mineralna organska otapala (white spirit, ksilen i sl.)
  
  	• Neki pigmenti u uljanoj bazi mogu požutjeti s vremenom zbog veziva
  
  	Alkidna veziva
  
  	Alkidi su sintetički polimeri na bazi ulja i kiselina — svojevrsna modernizacija uljanih veziva. Suše oksidativnom polimerizacijom kao i ulja, ali brže i s predvidljivijim svojstvima. Česti su u industrijskim premazima, temeljnim bojama i dekorativnim bojama za metal i drvo. Karakteristike:
  
  	• Brže sušenje od čistih ulja, ali sporije od akrila
  
  	• Tvrd i otporan film — dobra kemijska i mehanička otpornost
  
  	• Otapala su organska — mineralna organska otapala (white spirit, ksilen i sl.)
  
  	• Mogu žutjeti s vremenom, slično uljanim vezivima
  
  	Guma arabika i druga vodotopiva veziva
  
  	Guma arabika je prirodna smola koja se koristi kao vezivo u akvarelima i nekim tintama. Topiva je u vodi i suši fizikalnim sušenjem — film ostaje topiv u vodi i nakon sušenja, što je karakteristika akvarela (mogućnost reaktiviranja). U istoj kategoriji vodotopivih veziva nalaze se i kazein (iz mlijeka), jajčana tempera (žumanjak jajeta kao emulzija ulja i vode) i gvaš veziva. Svako od njih daje drukčiji film s drukčijim svojstvima.
  
  	  
  
  	4. Što su otapala i koja je njihova uloga
  
  	Otapalo je tvar koja otapa ili dispergira vezivo i time kontrolira viskoznost boje, omogućuje njezino nanošenje i određuje brzinu sušenja. Nakon nanošenja, otapalo isparava — i taj proces isparavanja je zapravo “sušenje” boje u prvoj fazi. Važno je razlikovati otapalo od razrjeđivača. Pravo otapalo otapa vezivo — molekularno ga razgrađuje i homogeno uključuje u otopinu. Razrjeđivač samo snižava viskoznost, ali ne mora nužno otapati vezivo. U praksi se ovi pojmovi često koriste naizmjenično, ali razlika postaje važna kad se govori o kompatibilnosti.
  
  	5. Vrste otapala
  
  	Voda
  
  	Voda je otapalo za akrilna veziva, gumu arabiku i ostala vodotopiva veziva. Prednosti su niska toksičnost, nema zapaljivosti i lako čišćenje. Mane su relativno sporo isparavanje u usporedbi s organskim otapalima i osjetljivost na temperaturu i vlagu — pri niskim temperaturama ili visokoj vlazi sušenje se znatno usporava.
  
  	Terpentin i mineralna organska otapala
  
  	Terpentin je prirodni destilat smole četinjača i tradicionalno otapalo za uljane boje i alkide. Ima karakterističan miris i dobar solvatacijski učinak. Zbog jakog mirisa i potencijalne toksičnosti pri dugotrajnoj izložnosti, u modernoj upotrebi ga sve više zamjenjuju mineralna organska otapala (white spirit, ksilen i sl.) ili bezmirisni razrjeđivači na bazi izoparafina. Mineralna organska otapala su frakcija nafte s nešto blažim mirisom od terpentina, ali sličnim svojstvima. Bezorisni razrjeđivači su rafiniraniji i imaju minimalan miris — prikladniji za zatvorene prostore.
  
  	Izopropanol i etanol
  
  	Alkoholi se koriste kao otapala za neke vrste tinta, lakova i shellaca. Izopropanol (IPA) je široko dostupan i koristi se za čišćenje kistova, razrjeđivanje alkoholnih tinta i raznih tehničkih primjena. Nije kompatibilan s akrilnim vezivima u većim količinama — može destabilizirati emulziju.
  
  	6. Interakcija veziva i otapala
  
  	Svako vezivo ima svoja kompatibilna otapala — ona koja ga pravilno otapaju ili dispergiraju. Upotreba nekompatibilnog otapala može dovesti do: • koagulacije — vezivo se izlučuje iz otopine u obliku grudica • destabilizacije emulzije — boja se razdvaja na faze • lošeg formiranja filma — boja ne veže pravilno, ostaje ljepljiva ili se lupa • otapanja već nanesenih slojeva — posebno problem kod lakova i finalnih premaza Praktični primjer: akrilne boje su na bazi vode. Dodavanje mineralnog terpentina ili terpentina u akrilnu boju neće je razrijediti — izazvat će koagulaciju veziva i uništiti boju. Obrnuto, dodavanje vode u uljanu boju ne razrjeđuje je pravilno — voda i ulje se ne miješaju.
  
  	7. Mediji, aditivi i retarderi
  
  	Mediji su formulirani dodaci koji modificiraju svojstva boje bez narušavanja omjera komponenti. Za akrilne boje to mogu biti: usporivači sušenja (retarteri) koji produljuju otvoreno vrijeme i omogućuju mokro-na-mokro tehnike, tekući mediji koji snižavaju viskoznost uz zadržavanje sjaja, mat mediji koji smanjuju sjaj, ili glazurni mediji koji povećavaju transparentnost. Za uljane boje mediji mogu biti: lak (damar, mastic) koji ubrzava sušenje i daje sjaj, sikativi (sušila) koji kemijski ubrzavaju oksidativnu polimerizaciju, ali čija prekomjerna upotreba može izazvati pucanje filma s vremenom. Opće pravilo: mediji su formulirani za konkretna veziva i ne smiju se koristiti naizmjenično. Medij za akrilne boje neće funkcionirati u uljanoj boji i obrnuto.
  
  	Zaključak
  
  	Vezivo je ono što od pigmenta i otapala pravi boju — ono formira film, drži pigment na podlozi i određuje trajnost premaza. Otapalo kontrolira viskoznost i brzinu sušenja, ali mora biti kompatibilno s vezivom. Razumijevanje ove trojke — pigment, vezivo, otapalo — daje solidan temelj za razumijevanje gotovo svake boje ili premaza s kojim ćete raditi.
  "
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  Dunja Singer, 13.07.2026.

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