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These flowers look like blown glass, but their petals are actually thin resin membranes stretched across fine wire frames. The technique is called dip flower or resin dip art: each petal is shaped from wire, dipped into liquid synthetic resin, dried separately, colored, and assembled into a three-dimensional bloom.
The featured Japanese artist Sakae uses this method to create exceptionally delicate flowers and kanzashi hair ornaments. The result is translucent, lightweight, and visually unlike a real flower preserved inside solid epoxy.
What makes these resin flowers unusual?
Most projects described as “resin flowers” involve real flowers—fresh or dried—being sealed in, coated with, or embedded in a solid epoxy casting. Dip flowers are made differently. They are artificial flowers constructed from wire and a thin film of resin.
First, the maker bends fine wire into the outline of a petal, leaf, sepal, or other botanical form. The closed wire shape is then dipped into a suitable liquid resin or dip solution. Surface tension allows the liquid to span the opening, leaving a transparent membrane across the wire frame. After the membrane dries, the individual pieces are joined around a center to form the flower.
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Because there is very little solid material in each petal, light travels through the surface. The narrow wire edge defines the shape while the translucent film gives the finished flower its glass-like or colored-cellophane appearance.
Make’s 2015 feature on Sakae’s work identifies the materials as wire and liquid synthetic resin and describes the pieces as suitable for use as hair ornaments, while also emphasizing their fragility.
The artist behind the featured work
Make identified the maker as Sakae, a Japanese kanzashi artist. Sakae’s artist profile likewise describes her work as “Dip flower,” using wire and resin to create kanzashi and other sensitive, finely constructed pieces. Her work is distinguished not only by the wire-and-resin construction but also by an original coloring technique.
Do these 3 things before closing this tab:
1Clear out junk files and repair common Windows errors2Scan for outdated or missing drivers - takes under a minute3Repair Windows errors before they cause bigger problemsThe available sources do not document the precise formula, layering order, or color additives behind that method. It would therefore be misleading to present Sakae’s coloring process as a known recipe or to claim that a particular commercial resin is the one she uses.
The profile places Sakae in Tokyo and contains historical information about sales through Yahoo auctions in Japan. That information should not be treated as a current statement about availability, international shipping, or active sales.
How dip flowers are made
- Design the botanical shape. Decide whether you are making a rounded petal, pointed petal, leaf, sepal, or another component. The outline must be formed as a closed frame if the liquid is to span it consistently.
- Shape the wire. Bend fine craft or floral wire with small pliers. Keep the outline smooth and avoid sharp kinks, loose joins, or overlapping wire that could disrupt the film.
- Dip the frame. Lower the completed wire outline into a liquid resin or dip solution specifically intended for this kind of work. The coating depends on the solution’s viscosity, surface behavior, temperature, and handling instructions.
- Allow the membrane to dry. Suspend or support the component so it does not touch a surface while curing or drying. Each petal and leaf is made as an individual component; this is not one large resin pour.
- Add color. Apply only coloring materials documented as compatible with the selected resin system. Sakae is associated with an original coloring approach, but its exact process has not been established by the available primary sources.
- Assemble the flower. Join the dried petals around a center, add leaves or sepals, and attach the finished bloom to a stem, hairpin, or other support.
The Japanese Dip Art Association’s description of dip flower confirms the same basic progression—forming wire into a petal outline, dipping it in resin liquid, and developing skills in wire shaping, dip-liquid handling, color mixing, and increasingly complex wire techniques.
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Dip flowers are not dried flowers in epoxy
| Feature | Dip flower | Preserved-flower casting |
|---|---|---|
| What forms the petal? | A wire outline covered by a thin resin membrane | A real dried petal or flower embedded in solid resin |
| Construction | Many separate, lightweight components | Usually a mold or surface coating around botanical material |
| Appearance | Translucent, airy, and close to a miniature glass sculpture | Solid, glossy, and often heavier |
| Main technical concern | Creating an even film across each wire frame | Drying and positioning plant material, mixing, pouring, and bubble control |
The phrase “resin flowers” can refer to either craft, so descriptions need to be precise. ArtResin’s flower-preservation guidance discusses drying real flowers by methods such as pressing, hanging, silica gel, and microwave flower presses before encapsulation. That is a separate process from dip flower construction.
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A beginner does not need to reproduce Sakae’s finished complexity to understand the process. Start with a simple five-petal flower and gather materials by function:
- Fine floral or craft wire: the structural material for petal, leaf, and sepal outlines. Browse fine floral wire with a gauge that bends cleanly but holds its shape.
- Wire-shaping tools: small pliers, round-nose pliers, and cutters help form curves, close joins, and trim excess wire. A suitable set of wire cutters for flower frames and round-nose pliers is more useful than trying to make precise loops by hand.
- Dip resin or dip solution: choose a product explicitly intended for dip-flower or resin-dip work when possible. Ordinary casting epoxy is not automatically an interchangeable substitute.
- Compatible colorants: use only materials approved for the chosen resin system. Test a small sample first because some colorants can interfere with film formation or curing.
- Assembly materials: depending on the system, you may need adhesive or additional resin to join dried parts and attach the flower to a stem or hair ornament.
- Drying arrangement: a rack, clips, or suspended work area keeps wet membranes from sticking to the table.
- Protected work surface and disposable containers: use these where required by the product instructions, and keep the work area level and clean.
A dip flower craft kit can reduce the guesswork for a first attempt, but check the listing carefully: a conventional dried-flower epoxy kit is not the same thing as a dip-flower kit. Since exact marketplace inventory and formulation were not independently verified, treat any kit as a convenience rather than proof that it matches Sakae’s materials.
Safety depends on the resin formulation
“Resin” is a broad category, not a single material. The correct ventilation, gloves, eye protection, curing temperature, working time, maximum film thickness, and colorant compatibility depend on the specific product.
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Before dipping anything, read the manufacturer’s technical and safety documentation. Work in the ventilation conditions it specifies, protect the surface, prevent skin and eye contact, and keep liquid resin away from food, children, and animals. Resin craft gloves, craft eye protection, and a resin work mat may be useful accessories, but gloves alone do not make resin handling safe and do not replace ventilation or the product’s instructions.
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Do not pour leftover resin down a sink. Follow the product’s disposal guidance, and allow waste to cure only if the instructions permit that method. If resin contacts skin or eyes, use the response specified in the safety data for that product and seek medical advice when appropriate.
Some guidance for conventional flower encapsulation also stresses that botanical material must be completely dry before it is placed in resin, because residual moisture can contribute to deterioration. That warning applies directly to real flowers being preserved; for dip flowers, follow the dip solution’s own requirements rather than assuming that rules for casting epoxy apply unchanged.
A practical beginner workflow
1. Make one test petal first
Do not begin with a complex chrysanthemum or a full hair ornament. Form one small, closed wire petal and test the dip solution. This reveals whether the wire shape is closed, whether the film spans evenly, and how long the component takes to dry.
2. Keep the frame clean and smooth
Uneven joins and stray wire ends can interrupt the membrane. Trim the frame before dipping and repeat the test if the resin pulls away from a corner or leaves a hole.
3. Let components dry completely
Handle the petal only after it has reached the condition specified by the product maker. Premature assembly can stretch, wrinkle, or tear the film.
4. Change one variable at a time
If the film is too thin, cloudy, uneven, or slow to dry, alter only one factor—such as the frame size, dipping motion, drying position, or environmental condition—before testing again. This makes troubleshooting possible.
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5. Assemble gradually
Begin by joining three petals, then add the remaining pieces around the center. A gradual assembly makes it easier to preserve spacing and avoid crushing the membranes.
6. Treat the finished flower as ornamental
Dip flowers can be sufficiently wearable for hair ornaments, but they remain delicate. Protect them from crushing, abrasion, excessive heat, prolonged moisture, and rough handling. Do not describe a home-made flower as jewelry-grade or promise that it will have the durability of a solid metal component.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Common failure modes
- The resin does not span the wire.
- Check that the outline is closed and free of oil, dust, or sharp discontinuities. Also verify that the product is actually intended for dip-film work and that it is being used within its specified conditions.
- The membrane has holes.
- The frame may be too large for one pass, the liquid may be unsuitable or improperly conditioned, or the dipping motion may be disturbing the film. Test a smaller frame and consult the product instructions rather than simply adding more casting epoxy.
- The petal wrinkles during drying.
- Movement, contact with a surface, or handling before the film has set can distort it. Suspend the piece securely and allow the documented drying or curing time.
- The color clouds or damages the film.
- The colorant may not be compatible. Test it on a separate membrane and use only the combination recommended for the resin system.
- The assembled flower looks flat.
- Dip flowers gain much of their realism from the three-dimensional arrangement. Vary the angles of the petals and leaves, and build the center in layers rather than attaching everything in one plane.
- The finished piece breaks.
- Fragility is part of the medium. Inspect wire joins, reduce stress during assembly, and design the support so the resin membranes are not bearing unnecessary load.
Kanzashi terminology matters
Kanzashi describes a Japanese hair ornament format. It does not, by itself, identify how the ornament was made.
Traditional tsumami kanzashi is a fabric-based craft. Tokyo’s official cultural description explains that small silk squares are folded and shaped with tweezers to create petals. The featured Sakae pieces are instead identified as wire-and-resin dip flower art.
It is accurate to call the finished object a resin dip-flower kanzashi when it is made as a hair ornament. It is inaccurate to describe the construction as traditional folded-fabric tsumami kanzashi, or to imply that the resin petals are preserved botanical flowers.
Where to learn more
The Japanese Dip Art Association offers the clearest general terminology in the supplied sources and describes instruction in wire work, dip liquid, color mixing, and advanced forms. Beginners who prefer structured guidance can also look for a dip flower book or resin flower making book, checking that the material list and technique refer to wire-frame dipping rather than ordinary epoxy casting.
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Specialist dip-art suppliers and craft schools may eventually be useful sources for compatible resin, colorants, and instruction. Availability, geographic access, and any partner relationship should be checked separately; the existence of a specialist category does not establish a particular merchant or current course.
Frequently Asked Questions
Are dip flowers made from real flowers?
No. The featured flowers are artificial constructions made by dipping wire outlines into liquid resin. Real dried flowers embedded in epoxy are a different craft.
Can I use ordinary epoxy resin for dip flowers?
Do not assume so. Dip flowers require a liquid resin or dip solution that can form a thin membrane across a wire frame. Follow the selected product’s technical documentation and do not substitute casting epoxy without evidence that it is suitable.
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They can be used as ornamental hairpieces, but they are delicate. Protect them from crushing, abrasion, heat, moisture, and rough handling, and do not assume a beginner project will match an experienced artist’s durability.
Is dip flower the same as tsumami kanzashi?
No. Dip flower describes the wire-and-resin construction technique. Tsumami kanzashi is a traditional folded-fabric craft. Kanzashi describes the hair ornament format, so a dip-flower kanzashi can exist without being tsumami kanzashi.
The Bottom Line
Dip flowers get their unusual beauty from restraint: a narrow wire outline, a nearly weightless resin membrane, controlled color, and careful assembly. The technique is closer to constructing a translucent miniature sculpture than preserving a flower in epoxy. Start with a single test petal, use a resin system made for dip work, follow its safety instructions, and treat the finished bloom as delicate ornamental art.
Quick Recap
Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply.
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