NEW

ENCYCLOPEDIA
OF ORIGAMI &
PULPING
PAPERCRAFT
TECHNIQUES

A comprehensive visual guide to traditional

and contemporary techniques

QUILLING By Ayako Brodek : Edited by Claire Waite Brown PAPIER MACHE

COLLAGE PAPER SCULPTURE

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THE NEW ENCYCLOPEDIA OF

ORIGAMI AND
PAPERCRAFT
TECHNIQUES
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THE NEW ENCYCLOPEDIA OF

ORIGAMI AND
PAPERCRAFT
TECHNIQUES

AYAKO BRODEK
EDITED BY CLAIRE WAITE BROWN

RUNNING PRESS
PHILADELPHIA • LONDON
A QUARTO BOOK

Copyright © 1991 and 201 1 Quarto

Publishing Inc.-

All rights reserved under the Pan-American

and international Copyright conventions.

This edition published in the United States

in 2011 by Running Press Book Publishers.
About the New Edition by Paul Jackson 6 UNIT 2: POP-UPS 44
This book may not be reproduced in whole All About Paper 8 Incised Pop-ups 46
or in part, in-any form or by any means, Paper Grain 10 Multipiece Pop-ups 52
electronic or mechanical, including Boxes 56
photocopying, recording, or by any
Creasing and Cutting 12
Project: Pop-up Spider 58
information storage and retrieval system
now known or hereafter invented, without UNIT 1: ORIGAMI 14
written permission 'from the publisher. UNIT 3: PAPER SCULPTURE 62
Origami Symbols 16
987654321 Basic Folds 18 Cones and Cylinders 64
Digit on the right indicates the number Geometric Divisions 22 Decorative Forms 66
of this printing Bases 26 Assembly and Armatures 70
Decorative Designs 35 Project: Nightflight 72
Library of Congress control Number:
2010925949 Functional Designs 38
Modular Designs 40 UNIT 4: BOOKBINDING 76
ISBN-13: 978-0-7624-4087-0 Action Designs 42 Preparing the Book Block 78

Conceived, designed, and produced by ' if.WiliilSi Soft and Hard

Single-section
Covers
Binding
80
82
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The Old Brewery
6 Blundell Street
London N7 9BH

QUAR.EP02

Project editor: Chloe Todd Fordham

Art editor: Joanna„Bettles
Designer: Anna Plucinska
Art Director: Caroline Guest
Picture researcher: Sarah BeLl
Creative director: Moira Clinch
Publisher: Paul Carslake

Manufactured by Modern Age Pte Ltd, China

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Multisection Binding UNIT 7: PAPER CUTTING UNIT 10; PAPER PULPING
Stab Binding Paper-cutting Techniques Preparing the Pulp
Project: Concertina Book Project: Paper-cut Window Hanging Applications

UNIT 5: QUILLING UNIT 8: COLLAGE UNIT 11: PAPERMAKING

Quilling Shapes Cutting and Pasting Making Pulp
Quilling Applications Composition Making the Paper
Project: Butterfly Keepsake Box Project: Painted Paper Collage Pressing and Drying
Decorative Techniques
UNIT 6: WEAVING UNIT 9: PAPIER MACHE Papermaking Recipes
Weaving Designs Casting from a Found Mold
Project: Woven Paper Bowl Using Other Molds Index
Decorative Ideas Credits
TWO HANDS TWICE
PAUL JACKSON

These images show the two sides of

the same piece of work. A 60 x 34-in.
(150 x 86-cm] photographic print of the
artist's hands is pleated horizontally
and vertically into 96ths, and a
complex grid of small cuts made.
When the pleats were reformed, the
cuts twist parts of the image through
to the back face of the print, creating a
secondary image on the reverse. After
manipulation, the piece measures
29 x 17in. (75 x 43cm). The original
photograph is the "woven" side,
although the image is not woven, and
instead the effect is an illusion created
by the reduction of the surface when
pleated. The more abstract image
appears on the back of the "weave."
Although it uses traditional
techniques of origami and kirigami
(a variation of origami that includes
cutting), the piece is unusual
because it applies these techniques to
a visual image, rather than to a blank
sheet of paper. In that sense, the r r p
techniques are not a means to an end,
but are used as a metaphor to
express the artist's interest in the
language of depiction.
 ABOUT THE NEW EDITION

ABOUT THE NEW EDITION

In 1990-1991, I had the great pleasure to compile What has created this change? I think it's a
and write The Encyclopedia of Origami and dizzying combination of factors, the most
Papercraft, here updated as the The New important of which is that because working with
Encyclopedia of Origami and Papercraft Techniques. paper is so inherently low-tech, it puts the artist
In those days, we paper artists were mostly in control and so offers an antidote to today's
disconnected, unknowing of each other, hi-tech culture, where most of us feel we have
unorganized, considered eccentric, using a material no understanding of how things work. Paper is
that few outsiders considered a serious medium. also cool, subversive, acceptable (now), but
The Encyclopedia— the first book of its kind— gave us still slightly risky, and it offers a wide range
a presence, and showed the wider world that half- of techniques and expression from the 3-D
hidden in ill-lit corners were people united by their geometry of origami to the 2-D textured surfaces
love of paper, creating exceptional work in a great of handmade paper.
diversity of techniques and contexts. Perhaps more
than anyone, I'm aware that the book caught the The New Encyclopedia of Origami and Papercraft
mood of the times, helping in a small way to Techniques combines some of the technical
legitimize both paper as a material, and the work sections from the original book with others,
created from it. and presents a completely new selection of
inspirational works in paper from around the
In the two decades since that original Encyclopedia world. I hope it inspires a new generation of
was conceived, I would argue that paper has readers to discover the joys of paper as a creative
become the most relevant and exciting of all medium, and helps to further establish paper as
mediums for contemporary artists, makers, and the most vibrant medium of our age.
designers. Around the world there are now frequent
major exhibitions of paper art and paper is regularly
seen alongside more traditional materials in even Paul Jackson

the most prestigious galleries and museums. Two

decades ago, paper, other than in its traditional role
as an impassive ground, was almost invisible.
 ALL ABOUT
PAPER
A BEWILDERING NUMBER OF PAPERS IS AVAILABLE FOR PARTICULAR U&ES-AND EACH

TECHNIQUE IN THIS BOOK INCLUDES A SUGGESTION OF SUITABLE PAPER TYPES. HOWEVER,

THE TECHNICAL SPECIFICATIONS NEED NOT NECESSARILY CONCERN THE PAPER ARTIST, TO

WHOM A LOOK AND FEEL OF A PAPER IS MORE IMPORTANT. THAT SAID, KNOWLEDGE OF A FEW

BASIC TYPES AND TERMS MAY PROVE USEFUL.

ORIGAMI POP-UPS BOOKBINDING

Origami designs can be folded Pop-ups are made using thin, Card-weight paper is a good
using just about any paper. springy card, which can be choice for the pages of your book,
Traditional square papers include bought in a range of colors from and watercolor, handmade, and
plain papers that are colored on craft and office supply stockists. drawing papers work well.
one side and white on the other, You can use medium-weight Photocopy paper is also a
and decorative "washi" papers paper to work out roughs before possibility for notebooks.
that are durable, soft, easy to moving on to the finished piece. Card-weight paper is also a good
fold, and feature beautiful choice for soft covers. Hard
patterns. Scrapbooking papers PAPER SCULPTURE covers made from pasteboard
are readily available in a huge Cartridge paper is a good choice can be covered with papers that
range of stunning designs, and for paper sculpture, supported are thin enough to fold neatly
are often already square. by a card armature as necessary. around the corners and produce
Giftwrap also makes a feasible Large sculptures may benefit tight, crisp points and edges.
alternative. from a heavier paper, but this will Many papers are manufactured
Household writing or photocopy be more difficult to manipulate. or handmade specifically for use
paper is perfect for practice. Photocopy paper is suitable for on book covers, but it is also
small, low-relief sculptures. possible to use nonspecific

s*
QUILLING
This papercraft uses strips PAPER WEIGHTS
of paper of various colors
and widths that are bought Weight is a guide to a paper's other properties and to needed whenever US poundage and paper sizes need
its price. In the United States, paperweight is to be converted.
specifically for the task. A
measured in pounds per ream (500 sheets), known In most countries outside the United States, weight
widely used width is '/sin.
as basis weight, or more often in pounds per M is expressed in terms of the weight in grams of a
(3mm). Cutting your own paper sheets (1,000 sheets). The size of the sheets can vary sheet of paper measuring one meter square. Thus,
is a possibility, but a time- considerably from one type of paper to another, so photocopy paper is said to be 80gsm (or 80gm2),
consuming one. there is no consistent relationship between the because a 1m2 sheet weighs 80 grams. Thinner
actual weight of a sheet and its official poundage. paper, such as airmail paper, is approximately
WEAVING However, the most common size for measuring 45gsm, and thicker paper, such as cartridge drawing
A medium-weight paper makes poundage is 25 x 38 in. At this size, photocopy paper paper, is about 150gsm. A medium-weight card would
a good choice for the first-time of 80gsm is 1181b, drawing paper of 150gsm is 2221b, be between 210 and 290gsm. Above 500gsm, cards
220gsm paper is 3301b, and so on. Tables are are identified by thickness, measured in microns.
paper weaver, although papers
available to make the calculation for other sizes. Some papers and cards are unusually compacted
of any weight and texture can
The poundage system survives outside of the or aerated. They appear to have a high or low
be used to great effect as you United States when referring to traditional high grammage compared to thickness, which is not
become more experienced. rag papers, such as watercolor and etching papers, necessarily a reliable indicator of weight.
Tissue papers and giftwrap, but for all practical purposes, conversion tables are
textured handmade papers,
and recycled papers such as
magazine pages can all be
experimented with.
COLLAGE newsprint, which makes it more PAPERMAKING
PAPER CUTTING Collage makes use of any type flexible and adaptable when Recycled paper pulp can be made
Almost any type of paper is of paper, whether commercial, soaked with paste or glue. using almost any type of paper,
suitable for cutting. Fine art handmade, or recycled. The only Handmade, colored, or tissue from household writing and office
paper is an especially good real consideration is aesthetic, papers can also be used on paper to tissue paper, giftwrap,
example because it cuts very and whether the various papers the final layer to produce a and junk mail. However,
neatly. Recycled and origami used work well together in the decorative effect. newspaper and glossy magazines
papers, and translucent papers, overall composition. are not a good choice, since the
may also be used to good effect. PAPER PULPING paper is highly acidic and the
Handmade papers have a PAPIER MACHE Pulp can be made from any resulting sheet will quickly turn
tendency to tear when cut, but This technique traditionally recycled paper, as long as it is yellow and brittle.
can be used as backgrounds onto uses torn-up newspaper. Large- neither glossy nor coated, so use
which delicately cut pieces can format newspapers use paper newspapers, photocopy paper,
be mounted. of a better quality than tabloid leaflets, and junk mail.
ALL ABOUT PAPER

TESTING FOR THE GRAIN

PAPER GRAIN All machine-made papers and cards have
a grain, formed as the glutinous, hair-like
fibers that stick together to form the sheet
ALMOST ALL CONSTRUCTION WORK are vibrated to lie in line with the direction
WITH PAPER AND CARD MUST TAKE of travel of the moving belt that pulls the
ACCOUNT OF THE GRAIN IN THE SHEET,
pulp from the "wet" end of manufacture
to the "dry," gradually creating the paper.
AND HOW IT AFFECTS THE GENERALLY
Handmade papers do not have a grain,
USED PAPERCRAFT TECHNIQUES OF
instead the fibers lie randomly all around
FOLDING, TEARING, AND ROLLING. the sheet.

GRAIN DIRECTION
When drawing on paper, the grain is of
little relevance. However, when paper is
folded, rolled, torn, or cut, the influence of
the fibers lying in parallel can be critical.

1 To find the direction of the grain, bend a sheet

of paper or card in half several times, but
without creasing it, to gauge the spring. Turn the
sheet through 90 degrees and bring the other
two edges together. A difference in tensions will
be apparent. The sheet will bend more easily
along the line of the fibers, or "with the grain."

ELEVATION TERRACOTTA
INGRID SILIAKUS

Paper has a character of its own

that asks for cooperation. When
designing a paper sculpture
from scratch, the artist needs
the skills of an architect to
create a two-dimensional design
that, with the patience and
precision of a surgeon, becomes
an ingenious three-dimensional
wonder of paper. After the
design stage, creating a paper
architecture artwork requires a
2 The paper or card will not be as flexible when
combination of detailed cutting
bent across the line of the fibers, or "against the
and folding that takes into
consideration the lie of the grain." If you have never noticed it before, this is
paper's grain. a very surprising phenomenon.
 PAPER GRAIN

CREASING WITH THE GRAIN TEARING WITH THE GRAIN ROLLING

The tendency of a sheet to fold more easily when When rolling cylinders, the paper will roll more
creased with the grain becomes ever more readily with the grain, so that tighter cylinders
apparent if you use heavier and thicker paper. can be formed.
A crease made against the grain on a sheet
Always carry large sheets of paper or card
of heavy paper or thin card will often produce rolled into a loose tube along the line of the
a rough, broken edge at the fold. Therefore,
: grain. This will sometimes mean rolling one
whenever possible, crease heavier sheets with long edge to the opposite one to create a longer
the grain, not against it. tube than may seem necessary, but the paper
will be less stressed. Rolling against the grain
A crease at an angle to the grain— particularly if
can leave disfiguring buckle marks on the sheet.
it is one of only a few creases on the sheet— wilt
When you buy paper, always insist that heavier
produce unequal tensions to both sides and
weights are rolled with the grain.
distort the surface of the sheet. Therefore, a
shape cut out from a larger sheet may have to
be oriented so that any creases on the cutout lie
parallel to the grain, not at an angle to it.

1 As could be predicted, a sheet will tear more

cleanly with the grain than against it. Tearing
%P 41
with the grain gives a smooth line that follows
the fibers of the paper.
^ j %
*
m

The sheet has been creased against the 1 Rolling is easier with the grain, when the
grain, which creates a rough edge. fibers lie along the length of the tube.

2 Tearing against the grain creates a ragged

effect because it breaks the fibers.

2 It can be very difficult to roll against the grain,

when the fibers lie across the tube. This may
A crease made with the grain
even buckle the paper.
has a smoother edge.
ALL ABOUT PAPER

SCORING
CREASING CREASING BY HAND

Before deciding to crease by hand, crease a This is an easy way to crease heavy paper and
small piece of the sheet both with and against light- to medium-weight card. However, scoring

AND CUTTING the grain. If the folded edges are clean and
unbroken, the sheet can be creased by hand.
cuts through the surface of the sheet, so has the
disadvantage of weakening it at the folded edge.
If the folded edges are broken, the paper is too
heavy to crease by hand and should be scored,
MANY PAPERCRAFT TECHNIQUES
cut-scored, or indented.
INVOLVE MAKING CREASES, WHILE

GOOD CUTTING CAN MEAN THE

DIFFERENCE BETWEEN A WELL-

FINISHED PIECE OF WORK AND

A JAGGED, UNTIDY ONE.

CREASING TECHNIQUES
Creasing is so elementary that it is
frequently done without regard for the
best method. One of the four methods
detailed here will be ideal for any crease
on any sheet. Choice depends on the
weight of the sheet and the use to 1 Rest the paper on a smooth, hard, level 1 Place a metal ruler along the line of the
which the crease is being put. surface. Orientate the paper so that the line of crease and score with a sharp craft knife,
the crease about to be made runs horizontally cutting two-thirds of the way through the
Cutting techniques from left to right across your body. Pick up the card. Always score on the outer, or mountain,
edge or corner nearest to you and... side of a crease.
The two tools for cutting paper and card
are scissors and craft knives. Both have
their merits for particular tasks, but
generally you should choose whichever
you feel more comfortable using.
However, scissors will not cut through
materials heavier than medium-weight
paper and lightweight card, for which you
will need to use a knife. Numerous craft
or hobby knives are available, and it is
advisable that you choose one with
interchangeable blades.

2 Maneuver it to the necessary position to locate 2 Bend the card backward

the line of the crease. Hold the corner of the fold along the score. Be aware
under one finger and use the finger of the other that on coated card
hand to make the crease. Always make sure that scoring reveals the white
the crease is made at the bottom of the sheet, board beneath the color.
never down the side or across the top. In this instance it is better
SEE ALSO
to crease by indenting.
Not all creases should be made against a
Paper Grain, pages 10—11 surface. Smaller creases, particularly in
origami, are best made with the paper in the air.
 CREASING AND CUTTING

INDENTING

This is the technique used to crease SAFE CUTTING

commercially manufactured cartons and
boxes. The card is not weakened by scoring, When bringing sharp
knives and vulnerable
but is indented under pressure along the line
fingers into close
of the crease. proximity, remember
to always keep your
free hand out of the
way of the blade.

The hand that holds the sheet during Make sure the steadying hand is safely
cutting should never be in line with positioned well away from the blade,
the blade.

CUT-SCORE CUTTING WITH SCISSORS

A technique halfway between scoring and

1 Indent the "wrong" side of the sheet, in this indenting, cut-scoring should be used either
case the white side of a sheet of colored card, for creasing very thick card or for giving thinner
by turning a craft-knife blade upside down and card a particularly flexible crease, such as
pressing it into the card along the line of the might be needed on a box lid.
crease. Make sure you do not break the surface
of the card.

To make accurate cuts using scissors, keep

them fixed in one hand and feed the work
through them.

CUTTING WITH A KNIFE

2 Bend the sheet toward you to form the crease.

Using a craft knife held against a metal ruler,

cut the card all the way through in a series
of dashes. The length of the cuts and the
distance between them depends on the Hold the knife like a pen for greatest control.
thickness of the card and the degree of Practice rolling the handle as you cut, so that
flexibility required, though clearly the longer you are not limited by the movement of your
the cuts, the weaker the card will be. Indent wrists when cutting a tight curve. Ensure your
the crease for added flexibility. blade is sharp, to give a crisp edge, and use
a cutting mat to save wear on the blade and
3 On turning the sheet over it is clear that there
damage to furniture.
is no white line and the sheet remains strong.
 BLUE ELEPHANT
EVI BINZINGER
Folding paper usually means dividing it
into several surfaces of different sizes and
forms by making straight creases. So the
technique of origami itself requires the
capability of abstract thinking. Inspired by
nature, Evi Binzinger’s models are
recognizable, yet also partially abstracted.
Blue Elephant is created from an uncut
square of handmade washi paper, starting
with a fish base and including sinks on the
back, inside reverse folds for the trunk, BONE FOLDER

EQUIPMENT CHECKLIST
and a little bit of molding to bring the A bone folder is not an
elephant to life. essential tool, however
Although strictly speaking your it can prove to be
I fingers are the only essential
invaluable for neatly
equipment for origami, when you
creasing paper.
want to create beautiful pieces
that will last, you may also find
these other items useful:
• Pencil
• Craft knife
• Cutting mat
• Metal ruler
• Scissors
• Embroidery scissors (useful
when making small cuts)
• Bone folder
• Glue stick ORIGAMI IS THE BEST KNOWN OF ALL PAPERCRAFTS, PERHAPS BECAUSE IT

IS THE EASIEST TO DEFINE AND BECAUSE MOST OF US HAVE DONE A LITTLE

SYMBOLS
OF IT AS CHILDREN. ITS STRICT RULES PERMIT NO CUTTING, NO GLUING,
The symbols used throughout this
chapter are detailed on pages AND NO DECORATION OF THE PAPER: THE SHEET MAY ONLY BE FOLDED.
16-17.
HOWEVER, RULES ARE THERE TO BE BROKEN, AND M AN \ NON -ORIGAMI

PAPER ARTISTS ALSO USE BASIC FOLDING TECHNIQUES IN THEIR WORK.

'«>' ' % ' . , • — • . »*- vgr %ia

UNTITLED
MIRI GOLAN

The way in which the origami figures have been

formed from the pages of a book suggests that
they are still connected to it, yet also freed from
it. This piece is a rare example of origami with a
message, raising global, contentious issues of
conflict, reconciliation, and similarities and divides
between faiths and cultures.
The blank pages of two books, handmade using
thin, opaque Bible paper commonly used to make
Holy books, have been carefuLly hollowed out so that
just a frame remains, and the cutaway rectangles
of each page have been divided into a square,
connected to, the frame by a thin strip. The squares
are folded using conventional origami techniques to
create kneeling figures.
 BRIEF HISTORY Since that time, in the Oriental and the Western world,
The history of the art of origami is somewhat obscure. tens of thousands of designs have been created in a
The word itself is Japanese: ori, “to fold" and kami, "paper" remarkable variety of styles. Origami has an appeal
(becoming garni when combined with ori). The name is possibly broader than that of any other papercraft.
a tribute to the ancestral home of the art, though it is a Many people see it as a form of puzzle-solving, an
matter of dispute whether the Japanese, Koreans, or attempt to make a model from diagrams in a book with
Chinese were the first to fold paper as a creative art. the satisfaction of having an impressive object at the
The Japanese developed sophisticated origami forms conclusion. For others it is a branch of mathematics or
some 1,200 years ago, usually for symbolic or ceremonial an entertaining party trick, a vocabulary for design, or
purposes, and, contrary to subsequent rules, these were perhaps an educational aid. It is art, science, and play:
frequently cut. With the coming of Western influences in recreational yet essentially profound.
the late nineteenth century, indigenous symbolism largely
disappeared, and origami became recreational. In the PAPERS
1930s a young Japanese man, Akira Yoshizawa, began There are no strictures regarding choice of paper. Many
developing new forms from the surviving traditional ones. people like to fold with traditional square origami paper,
His single-minded dedication and creative genius helped colored on one side and white on the other, but the paper
establish origami as a creative art form. is not always easy to find. Instead, for practice, use writing
Paper folding in the West, with the exception of a minor or photocopy paper, and for display work experiment with
creative period in Spain early in the twentieth century, as wide a range of papers as you can find. For two-tone
remained largely a schoolchild's diversion. However, in the effects use giftwrap or scrapbooking papers, which are
early 1950s, a renowned British-based stage illusionist, often already square, or make your own surface with
Robert Harbin, became fascinated by the creative potential pastels, inks, or similar. Traditional Japanese paper called
of paper folding. He collected as many traditional designs “washi" is durable, soft, easy to fold, and available in
as he could (a surprising number), invented some of his beautiful patterns and in small and large sizes. Some
own, and in 1956 published Paper Magic, a book that origami artists even choose to make their own papers,
established the creative potential of the art in the West. to ensure they get the distinct results they are looking
Subsequent books by Harbin and the American paper for [see pages 142-157 for how to make your own paper).
folder Sam Randlett consolidated its position as a craft.

re

COW
DESIGNED BY NOBORU
MIYAJIMA, FOLDED BY
GILAD AHARONI

When an origami design is

folded to show both sides
of the paper a two-colored \
model is created. Miyajima s
cow is a complex model with
many layers, and so requires
a large sheet of thin, strong
AIRPLANE
paper. Gilad made his paper
HANNAH BROWN
by adhering a sheet of black
Thai unryu paper to a white Hannah Brown uses recycled envelopes to
sheet, creating a paper that, fold origami airplanes, making the most of
despite its double thickness, the patterns on the inside of the envelope, and
is still quite thin and a taking care with the folding to ensure the stamp
pleasure to fold with. ends up on top of the wings.
ORIGAMI

ORIGAMI
SYMBOLS
SYMBOLS ARE THE CORE OF

ANY DESCRIPTION OF ORIGAMI.

IN RECENT DECADES, THE SYSTEM

OF DIAGRAMMATIC NOTATION HAS

BECOME VIRTUALLY STANDARDIZED

THROUGHOUT THE WORLD, SO THAT

DIAGRAMS CAN BE UNDERSTOOD

WHATEVER THE LANGUAGE OF THE

BOOK. SOME OF THE SYMBOLS ARE

OBVIOUS, AND OTHERS WILL BE EASILY

REMEMBERED WITH PRACTICE.

As you learn the basic principles of

origami, refer back to these diagrams if
anything seems unclear.

\
Direction paper moves

Fold behind
 ORIGAMI SYMBOLS

Existing crease

Equal distances

ALTERNATIVE SYMBOLS

You may also come across these

symbols as variations to those
listed above.

Mountain fold

Crease and unfold

Apply pressure
 BASIC FOLDS VALLEY AND MOUNTAIN FOLDS

Valley and mountain folds are the two

SQUASH FOLD
Whereas valley/mountain folds involve the
elementary origami creases and are the formation of just one crease at a time, squash
THE TECHNIQUES THAT FOLLOW FORM counterpart of each other: a valley is a mountain folding and other techniques involve the
seen from the reverse side of the'paper. It is a simultaneous formation of several creases.
THE BASIS OF ORIGAMI DESIGN.
good idea to memorize the difference between
HOWEVER, THEY ARE ALL SUBJECT TO the symbols for the two folds early on, so as not
AN ALMOST INFINITE RANGE OF SUBTLE to confuse them.
INTERPRETATIONS, SO IT IS IMPORTANT

TO CONCENTRATE ON THE GENERAL

PRINCIPLES OF EACH TECHNIQUE AND

NOT TO FEEL BOUND BY THE SPECIFIC

FORMATIONS SHOWN. INDEED,

THE MORE SKILLED THE ORIGAMI

ARTIST BECOMES, THE MORE THE

DISTINCTIONS BETWEEN TECHNIQUES

BEGIN TO BLUR.

1 Fold the paper in half.

No list of techniques can be definitive —

and that is part of origami's appeal.
Virtually every new design can claim to
introduce a fresh method, or invent a Valley fold: Lift and fold to form a sharp DIAGRAMMATIC NOTATION FOR

variant, subvariant, reversal, or inversion valley crease. SQUASH FOLD

of an existing one, much as each game

In a diagram the squash fold would be condensed
of chess can be said to have at least to this:
one new point of technical interest.
The best way to start is to practice the
techniques and become familiar with the
condensed diagrammatic notations. Then,
as you perfect your manipulative skill, you
will also come to recognize the different
techniques shown in the diagrams.

PRACTICE NOTES
When practicing your folding, work on
a clean, hard, level surface. Fold with
meticulous care, particularly in the early
creases, since if these are incorrectly Mountain fold: Valley folds are much easier for
placed, every crease that follows will be the hands to form than mountain folds, so when
out of alignment. Crease firmly. Look at a diagram indicates a mountain, it is often
one diagram and its symbols, then look easier to turn the paper over and form it as a
ahead to the next diagram to see what valley, then turn back to the front again. So, with
the wrong side of the paper face up, lift and fold
the next shape will be. Never refer to
to form a sharp crease, then reverse the paper.
one diagram in isolation.
Complete
 BASIC
FOLDS
{]9

INSIDE REVERSE FOLD DIAGRAMMATIC NOTATION FOR INSIDE

This is the most useful of all advanced origami REVERSE FOLD

techniques, and takes as many forms as there

In a diagram the inside reverse fold would
are designs that use it. Note that the difference be condensed to this:
between the inside reverse fold and the outside
reverse fold is that, in the former, the part of the
paper that moves is reversed inside the paper,
and the latter is reversed outside.
2 Fold in half again.

3 Loosen the opening and separate the

layers apart as you apply pressure.

2 Make a valley fold where indicated, folding

down.

4 Squash flat. Repeating the squash fold on

the other side produces the balloon base
(see page 31).

5 3 Refold by swiveling behind along the Form valley and mountain creases where
indicated and collapse flat. Note the way in
same crease.
which the part of the paper strip that has been
"reversed" has moved down between the layers
and has turned inside out.

THE COMPLETED
SQUASH FOLD
 ORIGAMI

DIAGRAMMATIC NOTATION FOR OUTSIDE RABBIT EAR FOLD

OUTSIDE REVERSE FOLD
REVERSE FOLD The technique is so-called because the free
Used less frequently than the inside reverse,
this is nevertheless an important technique.
pdint resembles a rabbit's ear. In a subsequent
In a diagram the outside reverse fold
maneuver, that point is frequently stood upright
would be condensed to this:
and squashed.

1 Fold the paper in half, then make a valley fold

where indicated, folding up.

1 Crease and unfold on both diagonals. Fold

the top left edge to the horizontal creased line
and unfold.
A

2 Refold by swiveling behind along the

same crease.

2 Fold the top right edge to the horizontal

ceased line and unfold.

THE COMPLETED OUTSIDE REVERSE FOLD

3 4 Form valley and mountain creases where Now fold both sides together to the horizontal
indicated and collapse flat. creased line, lifting point A and forming a
rabbit ear.
 BASIC FOLDS

SINK FOLD

This is perhaps one of the most complex

origami techniques, primarily because of
the large number of creases that have to be
simultaneously manipulated.

4 Collapse flat pushing from both sides.

4 Flatten the ear to one side.

1 Start with a balloon base (see page 31). Fold

dot to dot to crease where the "sink line" will be, THE COMPLETED SINK FOLD

then unfold. In origami any "closed" point may be

inverted and sunk (or multisunk in a
series of concentric sinks). The technique
is a useful way to create long, free points.

THE COMPLETED RABBIT EAR FOLD DIAGRAMMATIC NOTATION FOR SINK FOLD:

Repeating the folds on the lower half of the sheet In a diagram the sink fold would be condensed
is an alternative method of making the fish base to this:
(see page 34).
T
DIAGRAMMATIC NOTATION FOR RABBIT
EAR FOLD

In a diagram the rabbit ear fold would be

condensed to this:

3 Crease mountains around the center square,

pushing the center down into the paper.
ORIGAMI

No division relies on guesswork or trial and EDGE DIVISION

GEOMETRIC error: each is made by folding one specific To create thirds along an edge, follow this
point to another, and each can be proved simple method.
DIVISIONS accurate using geometric or trigonometric
theorems. They are all quick and reliable,
and do not require the use of a protractor,
Y
HIDDEN WITHIN ALL ORIGAMI DESIGNS compass, ruler, or pencil. More important,
IS A PATTERN OF GEOMETRIC CREASES. they are all supremely elegant.
MOST CREASE PATTERNS FOLLOW
Surprisingly, there is not just one way to
fold a polygon, but many. Some methods are
SIMPLE SYSTEMS, SUCH AS DIVIDING AN
direct, while others are more complex,
EDGE OR ANGLE INTO HALVES OR
revealing unexpected and satisfying edge or
QUARTERS. HOWEVER, THERE ARE crease alignments during the construction.
OTHER SYSTEMS THAT ARE MORE

SOPHISTICATED. THESE SEPARATE INTO

TWO CATEGORIES: EDGE OR ANGLE

1 Fold Y toward X, estimating one-third. Pinch
DIVISION; AND THE FOLDING OF the paper at A.
POLYGONS-REGULAR-SIDED SHAPES, BEAK

SUCH AS A HEXAGON OR OCTAGON. This humorous design, in which the mouth opens
and closes, is made by dividing the edge into thirds.
Origami purists would regard the drawn eyes as
a cheat, arguing that eyes could be achieved by
folding. They are correct!

2 Fold X to pinch A, pinching at B.

SEE ALSO

Origami Symbols, pages 16-17

3 Fold Y to B, pinching at C (near A).
 GEOMETRIC DIVISIONS

ANGLE DIVISION A
This method to divide any angle into thirds is
closely related to the edge division technique.

4 Fold AX to AD, creasing AE (near AC). Repeat,

folding AY to AE, then folding AX to that crease,
then AY to this new crease, and so on, until a
crease is made on top of an existing crease.
1 Angle XAY is arbitrary. Fold AY toward AX,
That is a perfect third of angle XAY.
estimating one-third. Crease AB.
4 Fold X to C, pinching at D [near B). Repeat,
folding Y, then X, then Y, then X, etc. across to A A
the last pinch made, until a pinch is made on top
of an existing pinch. That is a perfect third of
edge XY.

5 Similar systems, but with different AX-AY

2 Fold AX to AB, creasing AC. folding patterns can be devised to fold any angle
into any number of equal angles.

5 Similar systems, but with different XY folding

patterns can be devised to fold any division.

3 Fold AY to AC, creasing AD (near AB).

PHILIP SHEN

The form of this shallow dish by Philip Shen is

achieved by angle division, dividing the corners of
a square into equal thirds. A further set of creases
is then added and the form collapsed into shape.
ORIGAMI

POLYGONS: EQUILATERAL TRIANGLE

Use a rectangle of paper.

1 Precrease the midpoint horizontal,

then fold dot to dot.

THE COMPLETED EQUILATERAL TRIANGLE

If the crease that is formed when creating a triangle
is considered to scarthe design, it may be largely
eliminated by creasing only at the Step 1 location
point, not along the whole length of the paper.

| 4 Cut off the excess paper.

i

POLYGONS: HEXAGON
Use a square of paper.

1 Precrease
a vertical
midpoint, then
fold the bottom 3 Fold the other edge across.
edge to the top.

THE COMPLETED HEXAGON

The hexagon will be misproportioned if the cut

at Step 4 is incorrectly made, so make it with care.
The creases are usefully placed and should not
spoil a design.

2 Pinch the three-quarter crease X. Fold corner 4 Cut off the excess paper and open
Y to touch crease X, so that this new crease the triangle into a hexagon.
starts exactly at A.
 GEOMETRIC DIVISIONS !5

POLYGONS: OCTAGON

Begin with a square of paper.

1 Precrease one diagonal and the horizontal. 3 Cut off all the trie

THE COMPLETED OCTAGON

This is a very elegant and accurate way to

fold an octagon, because the paper never
becomes bulky and the triangles are easy
to cut off.

2 Align these two creases. 4 Open the paper.

3ISES
hese designs have been folded from an
quilateral triangle, a hexagon, and an octagon,
a make blooms with three, six. or eight petals,
hey are all made in exactly the same way as the
-aditional four-petal iris folded from a square (see
lower Base, page 30). It is clear that the greater the
umber of edges that a polygon has, the shorter the
etals become. This interesting exercise can be
erformed on most geometric designs.
2i ;; ORIGAMI

BASES When origami began to be analyzed in the

early part of the last century, it came to light
KITE BASE

Also known as the "ice-cream cone" base, the

that several designs began with an identical kite is one of the simplest origami bases. The
A NUMBER OF ORIGAMI DESIGNS START sequence of folds. These came^to be known name derives from its kite-like shape, equally
as "bases,” and were given names that often you might see it as an ice-cream cone.
LIFE AS A PARTICULAR SEQUENCE OF

FOLDS, KNOWN AS A "BASE,” AND A reflected a design common to them.

THOROUGH KNOWLEDGE OF SOME OF

THESE SEQUENCES WILL ENABLE YOU

TO GO ON AND PRODUCE A WIDE ROCK CRAB

MARC KIRSCHENBAUM
RANGE OF ORIGAMI SHAPES.
Marc Kirschenbaum's rock crab is heavy
on appendages, and is folded using two
sheets of mulberry bark paper bonded onto
aluminum foil—the foil backing means the
model is able to maintain its shape. The
crab's structure is rooted in the traditional
balloon base, with the five flaps of this
base further split into more flaps through
specialized folding sequences. The top thick
tip is split into two, and the resulting flaps
formed into the back legs, while splitting 1 Hold the paper at an angle so you are looking
two of the larger flaps into three forms the at a diamond shape. Fold the paper in half
remaining legs. The remaining two large
widthwise and unfold.
flaps become the claws.

2 Fold in both sides to meet at the crease.

SEE ALSO

Origami Symbols, pages 16-17

Basic Folds, pages 18-21
 BASES

BL1NTZ BASE PRELIMINARY BASE

The word blintz comes from a way of folding Traditionally, many origami bases were given
pastry. In Japan, it is called zabuton, meaning names that reflected a design common to them,
"cushion," from a way of sewing fabric together such as bird or flower. However, the preliminary
to make a zabuton. base does not follow this tradition, and is
so-called because it is the starting point for
many different designs. There are two methods
of forming this base.

METHOD A

4 Open up the top triangle and squash it to

form a square.

1 Fold the paper in half lengthwise and unfold.

Then fold it in half widthwise and unfold.

1 Fold the paper in half lengthwise and unfold.

Then fold it in half widthwise and unfold.
5 Turn the piece over.

2 Fold the four corners into the center.

THE COMPLETED
BLINTZ BASE

2 Fold in half diagonally.

OTHER SIMPLE BASES

3 Fold the triangle in half. THE COMPLETED PRELIMINARY BASE

BOOK BASE CUPBOARD BASE
ORIGAMI

METHOD B BIRD BASE

The bird base is also sometimes referred to

aS the crane base, not surprisingly because it
forms the basis of the popular crane pattern.

1 Fold the paper in half widthwise and unfold. 2 Fold it in half lengthwise from bottom to top.

1 Begin with a preliminary base, positioned

with the open corners down. Fold the right
and left edges of the top layer flaps to meet
at the center.
3 Fold the bottom right corner to the top center,
and mountain fold the bottom left corner to the
top center.

4 Open up the center layers and press the sides

together, then flatten the piece in half. When 2 Fold the top triangle down and unfold, then
moving on from this point, ensure the base is unfold the folds made in Step 1.
facing in the right direction at each subsequent
stage of folding.

BARREL CACTUS
JOHN BLACKMAN

Blackman's cactus is based on a traditional

Japanese decoration called a kusadama. The 36
cactus elements— each one made from one square
of paper— the three flowers— each constructed
using three squares of paper— and the pot all begin
with preliminary bases. The bases for the cactus
elements are folded into a flat model, unfolded,
and refolded inside out to create the three- 3 Lift the bottom point of the top layer and swing
dimensional element. THE COMPLETED PRELIMINARY BASE it upward, keeping the top triangle closed.
 BASES^ !9

FOLDING A CRANE FROM A BIRD BASE

2 Make inside reverse

folds (see page 19) on
These flaps both sides.
become wings

4 Push the left and right corners toward each

other, so that both edges meet at the center.
Press flat.

These flaps
separate in
the middle

1 Begin with a bird base, positioned with

the wing sides up. Fold the right and left
lower edges of the top layer to meet at the
center. Turn the piece over and repeat this
step on the other side.
3 To form the crane's beak, make an inside
reverse fold on one end. Pull the wings
5 Turn the piece over. Repeat Steps 1 to 4 on
apart to complete the crane.
the other side.

THE COMPLETED CRANES

THE COMPLETED
BIRD BASE

I
ORIGAMI

MAKING AN IRIS FROM A FLOWER BASE

FLOWER BASE

Flowers of various varieties are popular origami

designs, and many begin with the flower base.

1 Begin with
a preliminary
base, positioned
with the open
corners down.
Fold the right
upper edge of
the top layer to
align with the
center line, 1 Begin with a flower base. Fold it in half 4 Fold down the triangle flaps. Repeat
then unfold. lengthwise and unfold. Fold the right and Steps 1 to 4 on the remaining three faces.
left bottom edges of the top layer to meet
at the center, then unfold.

2 Loosen an
opening in the
top right, and
fold to the left,
forming a
diamond shape.

2 Lift up the bottom of the triangle and 5 Fold one flap to the side to show the face
loosen an opening. without a triangle flap.

3 Flatten the
diamond and
press down firmly.
Repeat Steps 1 and
2 on the remaining
three faces.

3 Push the right and left corners inward

6 Fold the right and left lower edges of
THE COMPLETED to meet at the center, then flatten.
the top layer to meet at the center.
FLOWER BASE
 BASES

BALLOON BASE

Some call this the "water bomb" base, because once you make a balloon
from it you can actually put water in it. The crease pattern of this base is
the same as for the preliminary base. You can take a preliminary base and
flip it around to form a balloon base.

1 Fold the paper in half diagonally and unfold. | 4 Loosen the opening and separate the layers
7 Repeat Steps 5 and 6 on the remaining Then fold in half diagonally in the other direction as you apply pressure.
three faces. and unfold.

2 Fold in half lengthwise. 5 Squash the open square to form a triangle.

8 Open all four petals.

THE COMPLETED IRIS 6 Turn the piece over and repeat Steps 4 and 5
on the other side.

THE COMPLETED
BALLOON BASE
MAKING A BALLOON FROM BALLOON BASE BOAT BASE
This base has lots of different names, including
the "windmill" base because of its shape, the
"pig" base because it can be made into a pig,
and also the "multiform" base.
Pocket Pocket

1 Begin with a balloon base. Fold the two 5 Loosen the pockets and insert the
bottom corners of the top layer to meet at triangles in the pockets.
the top corner point.

1 Fold the paper in half lengthwise and unfold.

Then fold it in half widthwise and unfold. Turn
the piece over.

2 Fold both right and left corners of the top 6 Turn the piece over and repeat Steps 1
layer to meet at the center. to 5 on the other side.

2 Fold the four corners to the center then

unfold. Turn the piece over.

3 Fold both sides to meet at the center crease.

 BASES^ 13

ALTERNATIVE NAMES

4 Fold the top and bottom edges to 6 Flatten the bottom. Repeat Step 5 on the You can see from these examples of what the boat
meet at the center crease. top portion. base can be made into, why it is also known as a
"windmill,'' ''pig," or "double-boat" base.

5 Pinch the inner corners of the bottom portion THE COMPLETED BOAT BASE

from the center and pull them outward.

MAKING ASAILBOAT FROM A BOAT BASE

1 Begin with the boat base and fold up the

two triangle flaps on the top portion.

without letting go, then ask them to

close their eyes. While they cannot
see, fold down the two flaps next to
the sail, then tell them to open their
eyes. It appears as if they let go of the
sail and the boat is sinking.

2 Turn the piece over.

 ORIGAMI

3Tur
the
pie
ove
FISH BASE MAKING A FISH FROM A FISH BASE

The fish base is an extension of the rabbit ear fold [see page 20),
and the "rabbit ears" can also be folded to form the fins of
various sea creatures.

1 Begin with a fish base, positioning it

sideways. Turn the piece over, keeping the
small triangular flaps on the left side.

51 Place the paper at an angle so you are looking Fold the right-side edge to meet the center
at a diamond shape. Fold the paper in half crease, at the same time pulling down the right-
widthwise and unfold. Then fold it in half side inner corner to form a point. Repeat on the
lengthwise and unfold. left side.

2 Fold both sides to meet at the center crease. 6 Fold down the top layer.

3 Fold in half lengthwise.

4 Fold down the small triangular flaps

diagonally to form fish fins. Repeat on the
other side. To form the fish's tail, make an
inside reverse fold (see page 19) on the
other end.

4 Fold in half lengthwise, then turn the whole THE COMPLETED FISH
piece over.
 BASES • DECORATIVE DESIGNS IS

DECORATIVE BUTTERFLY

This butterfly is a suitable project for those

new to origami.
DESIGNS
IT IS ONE THING TO UNDERSTAND THE

TECHNIQUES OF PAPER FOLDING. BUT

TECHNIQUES BY THEMSELVES MEAN

LITTLE. IN ORIGAMI. MORE THAN IN ANY

OTHER PAPERCRAFT. IT IS IMPORTANT

TO SEE HOW THE TECHNIQUES 1 Begin with a boat base (see pages 32-33). 5 Fold the top layer back at a slight angle,
RELATE TO SPECIFIC DESIGNS. Fold down the two bottom triangle flaps. as shown.

CREATING A LIKENESS
Ornamental models, such as
representations of animals or flowers, can
be simple or complex, requiring practice
and patience. In drawing, the likeness of a
subject may be rendered with just a few
skilled strokes of a pen. So it is with
origami, but using folds. It is a demanding,
creative challenge to reduce a complex
shape to its essential form, then to fold
that form in a simple and elegant manner.

SEE ALSO

Origami Symbols, pages 16-17

Basic Folds, pages 18-21
Bases, pages 26-34
7 Fold in half, aligning the wings, then unfold.
ORIGAMI

SNAIL

Ayako Brodek's snail design is a variation

of a traditional model, and one that is more
suited to the intermediate origamist.

6 Take two layers of the left-side lower edges

and fold them two-thirds of the way to the
center, then fold again to meet the center. Take
one layer of the right-side lower edge and fold
it to meet the center.

1 Follow Steps 1 to 4 of Making an Iris from a

Flower Base (see page 30). Position the piece
with the same number of layers on both right
and left sides. Make sure the triangular flaps
are all down. Fold one left layer to the right
side to show the face without a triangular flap

4 Take two layers of the right-side lower edges,

and fold them two-thirds of the way to the
center, then fold again to meet the center. Take
one layer of the left-side lower edge, and fold it
to meet the center.

7 Fold one right layer to the left side to show

the face without a triangular flap. Then turn
the piece over.

2 Bring the bottom corner of the top layer all

the way to the top corner.
 DECORATIVE DESIGNS

These will
I
become the
snail's antennae

8 Mountain fold the antennae at a slight angle. 10 Fold up the top triangle, leaving one layer 12 To form the snail, mountain fold the center of
behind. Stand the triangle up. the body and tail by pinching them, and fold up
the antennae.
ORIGAMI

FUNCTIONAL TABLE DECORATIONS

The egg stand can be softened
slightly by rolling the tip of each

DESIGNS square flap around a pencil. The

stand is used here as a table
decoration, to display a plastic
egg that has been decorated with
WHILE YOU MAY THINK IMMEDIATELY torn and cut paper. Howto make
the butterfly on top is detailed on
OF ORIGAMI DESIGNS AS MERELY page 35.
DECORATIVE, THERE ARE A SURPRISING

NUMBER OF FUNCTIONAL DESIGNS.

Boxes are the most popular subject, some

simple, others very elaborate. Turned
upside down, many boxes make excellent
hats. Other origami items to wear include
warm newspaper slippers, modular belts,
and all kinds of jewelry.

ORIGAMI IN THE HOME 1 Begin with a blintz base (see page 27). Fold
In the kitchen, simple leakproof cups, this base into a boat base (page 32), using this
saucers, or boxes can be folded from side as the colored (right) side of the paper,
which means you need to turn the piece over to
aluminum foil or wax paper. On the dining
carry out Step 1 of the boat base.
table, decoratively folded paper or linen
napkins are often seen, and origami
can be used to make place cards,
napkin rings, and takeaway bags.
So, while paper-folded objects may not
have a major everyday role, they can be
useful as well as attractive.

2 Now you have a boat base, made with a blintz 5 Fold one triangular flap back and forth, so that
base. Turn the piece over. it stands up.

SEE ALSO

Origami Symbols, pages 16-17

Basic Folds, pages 18-21
Bases, pages 26-34

3 Unfold the four triangular flaps, bringing all 6 Loosen the opening and squash to form
four inner corners out. a square.
 FUNCTIONAL DESIGNS

PICTURE FRAME

By adding more folds, you can turn the egg

stand into a picture frame.

3 Fold all four inner pointy corners outward.

7 Repeat Steps 5 and 6 on the remaining three

flaps, to give four squares that each look like a
preliminary base.

1 Fold until Step 7 of the egg stand. Working

on one of the four squares in the center of the
piece, fold both right and left lower edges
to meet the center. Repeat on the remaining
three squares.
4 Fold all four inner points outward.

8 Pull all four square flaps out a little to make

space for an egg in the center.

2 Bringing back the top layer of each side, 5 Mountain fold all four triangular flaps.
loosen an opening and squash flat. Do the same Use the side triangular flaps to make the
on the remaining three squares. frame freestanding.

THE COMPLETED
PICTURE FRAME
v; Origami picture frames
show off other origami
7 creations beautifully.
/ .
M MS
\ / V
THE COMPLETED EGG STAND
" > *. r
W ORIGAMI

MODULAR The appeal of modular work is a satisfying

mix of geometry, color patterns, and simple
FIVE-MODULE ANTIPRISMS

The modules in the model shown here,

folding. There is also a strong sense of the designed by Miyuki Kawamura for her book
DESIGNS whole being more than the parts, of a Polyhedron Origami for Beginners, fit neatly
spectacular structure made with little effort. together by means of a flap that inserts into
a pocket on the adjacent module.
MODULAR FOLDING IS A PARTICULAR Each module is folded from one sheet of
GENRE OF ORIGAMI IN WHICH paper and the units are fitted together by
IDENTICALLY FOLDED UNITS LOCK inserting flaps into pockets created by the
TOGETHER WITHOUT GLUE TO CREATE
folding process, in a technique that allows the
origamist to create larger and more complex
LARGER SHAPES.
designs than would be possible with a single
sheet of paper.

SEE ALSO
STELLA
Origami Symbols, pages 16-17 MEENAKSHI MUKERJI

Basic Folds, pages 18-21 This model belongs to a series named

Bases, pages 26-34 Enhanced Sonobes. The Sonobe Unit,
invented by Mitsunobu Sonobe in the
1970s, is one of the foundations of 1 Begin with a kite base (see page 26),
modular origami. Stella is about 6in. positioned upside down.
(15cm) in diameterand is made up of 30
units locked together in a dodecahedral/
icosahedral symmetry that start with
rectangles. The units are interlocked
together without the help of glue.

2 Bring the bottom triangle up, folding along th

bottom edge of the top triangle.

USES AND VARIATIONS

This model can be used as a
holder for a battery *
operated candle, and by
curving or pleating the top
of the triangle flaps, you can
make it more decorative.
 MODULAR DESIGNS

3 Fold in half lengthwise, bringing the top 6 The finished module. Each module has a flap 8 Add three more modules by inserting the flaps
corner to the bottom. and pocket. Make four more modules using into the pockets.
paper of the same size.

4 Fold both sides along the edges of the 7 Insert a flap of one module into the pocket | 9 Insert the flap of the first module into
top layer triangle, then unfold leaving firm of another module. the pocket of the fifth module to complete
crease lines. | the antiprism.

5 Mountain fold in half widthwise, then unfold

leaving a firm crease line.
ORIGAMI

ACTION At their best, action models are the most

easily appreciated, most original, most
FLAPPING
This
BIRD
traditional model is a classic design.

ingeniously designed, and most entertaining

DESIGNS of all origami designs. They are neither
childish nor banal. A design that jumps, spins,
flaps, winks, tumbles, talks, balances, makes
ACTION MODELS ARE DESIGNS a noise, or flies is easy to admire and enjoy.
TO BE PLAYED WITH. HOWEVER,
POPULAR CHOICES
THAT DOES NOT MEAN THIS GENRE
The traditional Japanese flapping bird, with
OF ORIGAMI SHOULD BE CONFINED
wings that move when its tail is pulled, has
TO THE CLASSROOM.
been known in the West since the 1860s, and
is possibly the finest of all origami designs.
The hungry crow is also a good, traditional
example of an action model.

1 Begin with a bird base (see pages 28-29).

Make inside reverse folds (see page 19) on
SEE ALSO
both sides.
Origami Symbols, pages 16-17
Basic Folds, pages 18-21
Bases, pages 26-34

2 To foYm the bird's beak, make an inside

reverse fold on one end. Pull the wings apart.

GET FLAPPING

To flap the bird s wings, hold its breast and gently

! move its tail.
 ACTION DESIGNS

HUNGRY CROW

This is another traditional model that can be

very entertaining.

4 Fold a balloon base (page 31), using this side 6 Lift the inner corner of the top square,
as the white (back) side of the paper. loosen the opening, and crease the center
by mountain folding.

1 Begin with a blintz base (see page 27).

Turn the piece over.

5 Unfold the balloon base and face the side with 7 Fold in half horizontally both right and
four square flaps (the same side as shown in left squares.
Step 4). Position it diagonally.

2 Fold the four corners to the center.

EAT UP

To make the hungry crow eat, hold the wings and

pull them back and forth sideways to make the THE COMPLETED
mouth-open and close. The crow can actually HUNGRY CROW
grab small things with his mouth.
 CARD

Thin card suitable for

f
making finished pop-ups
is available from craft and
EQUIPMENT CHECKLIST
office supply stores in a
In order to ensure your pop-ups range of colors. Squares
actually pop up, and flatten back of thin carb are used
down again, you will need to in scrapbooking and
carefully make use of the cardmaking, and can be
following items: bought from craft suppliers
• Pencil
in packs containing various
• Ruler and protractor colors and decorative patterns.
• Scissors
• Craft knife

• Cutting mat
• Metal ruler

• Glue (use a strong paper glue or

general-purpose adhesive for
final pieces. Glue.sticks are fine
for roughs, but are not strong
enough for finished work]
• Adhesive tape

SYMBOLS

The symbols used in this section

are the same as those used for
origami (see pages 16-17).

For multipiece pop-ups, this symbol

indicates where to apply glue.
When the symbol is red, the glue is USING CUTS, FOLDS, AND SOMETIMES ADD-ON PIECES, POP-UPS
applied on top, when it is green, it
is applied underneath. TRANSFORM A SHEET OF CARD FROM TWO DIMENSIONS TO THREE AND BACK

AGAIN. IT IS EASY TO SEE WHY THEY HAVE SUCH AN ENDURING FASCINATION,

SINCE THEY ARE OFTEN EXTRAORDINARILY INGENIOUS, COMBINING THE

RIGORS OF GEOMETRY WITH THE APPEAL OF MAGIC.

V *

BOOK SEED IN THE WIND

PAUL JOHNSON JEMMA WESTING

This is a multi¬ This multipiece pop-up

piece pop-up, is the result of a
using techniques brainstorming exercise
derived from by the artist, who
incised considered the journey
generations of a seed through the
techniques. air, traveling through
wind tunnels,
turbulence, and
thermals in the sky.
It was compiled using
1401b (21Ogsm) card
and plenty of masking
tape.
BRIEF HISTORY METHODS
Pop-ups were first used in children's books during the The basic techniques for making incised and multipiece
latter half of the nineteenth century, though books with pop-ups are not complex, but when used together they can
parts such as lift-up window flaps were used as far back create designs of remarkable intricacy. As with origami,
as the thirteenth century. The high cost of production and every new design introduces a technical nuance, and
an uncertain world economy saw the decline of this therefore the variations of technique are endless.
expensive book form during the first half of the twentieth Pop-ups must be made very carefully, otherwise they
century. However, in the late 1950s and 1960s, innovative wilt not collapse flat. Roughs can be made as quickly as
pop-up books from Czechoslovakia were translated into necessary, but finished examples need to be made slowly,
English, inspiring American designers and publishers to using a ruler, protractor, and occasionally a template.
create their own. In turn, their work influenced British Explore the techniques that follow by copying examples
designers, and both countries have since produced many from the book and by inventing your own variations. If
remarkable pop-up books and greeting cards. you have pop-up books or greeting cards on hand, look
through them and try to identify the mechanisms that
PAPERS make them work, many of which are explained here.
When practicing the techniques and making roughs, use
medium-weight paper. Finished examples, though, should
be made with thin, springy card, available from craft
supply stores in a range of colors. Squares of this type
of card are also used in scrapbooking and cardmaking, 1
and can be bought from craft suppliers in packs.

INVASIVE SPECIES:
THE LIONFISH!
JEMMA WESTING

This wonderfully detailed

multipiece pop-up was designed
for a book aimed at informing a young
audience about the fish as an invasive
species, and goes on to describe the
predator's physical features and the
environmental context in which it is
placed. The reader is supplied with
3-D glasses, to allow them to see how
the change in light and color at depth
would affect the fish's appearance.
 SINGLE SLIT BASIC EXAMPLE
INCISED: Incised pop-ups are constructed from one
sheet of card that has been slit and creased.
The card opens to 90 degrees to reveal the
With the card folded in half, cut in from the
crease, then fold the triangles backward and

POP-UPS | pop-up, then, as the card is opened further,

the pop-up flattens back into it. Adhesive
forward along the two creases. Open the card.
Pull the triangles upward, recreasing the
central fold as a mountain. Fold the card in
is seldom used, except perhaps to glue
half and press flat to reinforce the creases.
A WELL-THOUGHT-OUT, WELL-MADE J a completed design to a backing sheet
INCISED POP-UP CAN HAVEAN * for strength.
ELEGANCEUNSURPASSEDBY l
PRACTICE NOTE
ANYOTHERPAPERCRAFTTECHNIQUE, l
When practicing cutting techniques or
AND ITS SECRET LIES IN CARE OVER • working on a design, this one tip will save you
BASIC PRINCIPLES. • a lot of time and paper. If you make a slit in
the wrong place, do not discard the sheet to
start afresh, instead, seal the slit by taping
over it at the back of the sheet, then slit again
SEE ALSO
in the correct position. That way, a slit may be
Creasing and Cutting, pages 12-13 made, taped up, and remade many times.
Origami Symbols, pages 16-17 THE COMPLETED SINGLE-SLIT POP-UP
Note which crease is a mountain: The orientation
of the creases is not arbitrary.

SINGLE SLIT
VARIATIONS

The single slit in a pop¬

up can start anywhere
along the length of the
central crease and can
take any shape. The
secondary creases can
come away from the
end of the slit at any
angle, as you can see
from these examples.

Here, the pop-up will

pierce the plane of the bottom edge.
the card.
 INCISED POP-UPS

DOUBLE SLIT BASIC EXAMPLE

This technique is very similar to the single slit, but

offers greater creative possibilities. As the name
suggests, a double slit requires two cuts.
THE COMPLETED
DOUBLE-SLIT POP-UP

Note the single

mountain crease
Cut in twice from the central
among four valleys.
crease, then fold the loose section
that lies between the slits
backward and forward. Open the
card and pull the loose section
toward you, recreasing the central
fold, on the pop-up strip only, as a
mountain. Fold the card in half and
press flat to reinforce the creases.

DOUBLE SLIT
VARIATIONS

As with the single¬

slit technique, the
slits can be of any
shape, though the
secondary crease
must always
connect the ends.

A V-shaped double slit. The This complex variation pierces ' Note that the crease between
slits need not be parallel. the plane of the card to create j the ends of the slits is not
a "front and back" effect. ! parallel to the center crease.
POP-UPS

ASYMMETRIC SLITS BASIC EXAMPLE

The previous single- and double-slit examples

ASYMMETRIC VARIATIONS
and variations will all produce symmetrical
pop-ups. This is because the card is first folded The only rule here is that the two
valleys and one mountain that make
in half to form a double layer, then cut through
the pop-up must all be parallel to the
both layers to create a slit that is the same
central crease. Careful measurement
shape on both sides of the crease. With careful
and a clear constructional procedure
measurement, however, the symmetry can be are key to the successful use of this
broken to make possible a much wider technique, so before making any
vocabulary of form. creases always draw everything
out first, measuring carefully.

3 Measure the distance from the central crease

to the nearer valley crease line. Reproduce that
distance to the inside of the other valley crease.
This will be the position of the mountain crease.

1 Form no creases, but make a measured

drawing. Draw the central crease, then draw
the two slits that sit asymmetrically across the
central crease.
NONPARALLEL CREASES

Whatever shapes the techniques

shown so far may form, the
4 Erase that part of the central crease that creases will always be parallel and
runs across the pop-up strip. Cut the slits, somewhat boxlike. Here is a way
make the creases (either by hand or by scoring, to construct creases that are not
depending on the weight of the paper or card) parallel but tapered, creating odd
and fold to shape. perspective effects. A protractor
will be needed.

2 Draw two valley creases, parallel to the

central crease.

THE COMPLETED ASYMMETRIC POP-UP

This is the result, if all the creases are

correctly placed. It is critical to understand
which distances are equal— and why—if this
useful technique is to be mastered. If you
are still unsure of the principles, try
remaking this example.
 INCISED
POP-UPS
^

Note the equal

distances here and
how they are measured
horizontally, not at the
angle of the band.

Here the shorter plane

extends below the
longer one. placing
the mountain crease
between two distinct
shapes and not in a
Asymmetric principles are used here to
seemingly arbitrary
create a form that extends "behind" the
position.
plane of the card.

i
1 THE COMPLETED NONPARALLEL POP-UP
1 With this technique it is usually easier and
1
more accurate to form the creases by
r~ /
scoring the paper or card, rather than
\ /
creasing by hand.
\ /

\_ /
/
\
/
\ 1
/
\ !

'! /
\!/
1 The slits are of unequal length, but the 2 To locate the position of the mountain crease,
creases meet at an imaginary focal point below measure the smaller angle between one valley
the card, on the line of the central crease. Draw crease and the central crease, then measure
everything before slitting or creasing. the same angle to the inside of the other valley
crease. The mountain crease must also radiate
from the focal point. When the drawing is
complete, slit, crease, and fold to shape.
jj|]]J POP-UPS

GENERATIONS BASIC EXAMPLE GENERATIONS VARIATION

Every pop-up is built around an existing crease and generates its own new A complex form can be built up generation by
generation. The form here is symmetrical, but the
creases. These new creases can in turn be used to create more pop-ups,
principle can equally be applied to asymmetric
which in turn generate new creases that can be used to create more pop- forms that are drawn before being cut. After the
ups, and so on, through successive generations. The principle can be third generation is formed the card will not take a
applied to any of the techniques featured so far, or to different techniques doubling of the “steps" with another generation. The
at each generation. large number of creases means that the form takes
some force to pull open, but once erected, it will not
wilt shut as pop-ups with few creases frequently do.

1 The first
generation is
formed using
a double slit.

2 Cutting through all

the layers of the first-
1 Begin with the basic example of the double¬ 2 Similarly, now cut into the new nearside folded generation pop-up creates
slit pop-up, fully formed. Make two cuts into edge (the one just made), to make another the top and bottom "steps."
the nearest folded edge and proceed to make double-slit pop-up. This process can continue
a simple double-slit pop-up, identical to the through the generations until creases become
bigger one just made, but smaller. too small for pop-ups to be formed. Generations
can also be cut into central mountain creases
to form what might be called “pop-ins," rather
than pop-ups.

THE COMPLETED
GENERATIONAL POP-UP

Practice this technique

whenever you get a spare
moment, creating
successive generations
from single- or double¬
slit pop-ups.

3 The third
generation is
formed by cutting
through all the
layers of
the second
generation.
 INCISED POP-UPS

CUTAWAYS BASIC EXAMPLE

The cutaway technique releases the paper on one side

of a crease to create interesting, freestanding forms.

Make the double-slit

basic example pop-up. THE COMPLETED
Open it out flat. Incise CUTAWAY POP-UP
a semicircular line that The cutaway is the single
begins and ends on the most useful of all incised
bottom valley crease, pop-up techniques. It
and incise three sides transforms conventional
of a rectangular shape pop-up shapes— which are
frequently static and heavy¬
beginning and ending on
looking— into forms that are
the central mountain lighter and more dynamic.
crease. Re-form the pop¬
up, but do not crease
inside each incision,
allowing the semicircular
and rectangular forms to
stand proud.

CUTAWAY VARIATIONS

The application of cutaway techniques

Here, two cutaways originate from the is almost infinite, because any shape
can be made to project from any
same crease and overlap. The result
crease, as long as the shapes do not
is a pleasing double cutaway form, collide or leave so little of a crease
projecting forward on each side of that the structure becomes very
the mountain crease. weak. They can be used with any
previously described technique or
combination of techniques. For
finished works, draw the slits and
creases onto uncreased card, thereby
avoiding creases across the base of
all freestanding shapes, then slit
and crease. Note the interior spaces
created by this technique. They add
The cutaway arch bridges the lightness to a pop-up form and
gap between two conventional make possible an infinite range
double-slit pop-ups, leaving an of silhouettes.
interesting negative shape.
POP-UPS

MULTIPIECE HORIZONTAL V BASIC

This is the simplest

EXAMPLE

180-degree pop-up
technique.
POP-UPS
\

MULTIPIECE POP-UPS ARE MADE FROM

MANY PIECES OF SHAPED CARD, STUCK

TO A BACKING SHEET THAT OPENS AND

CLOSES TO REVEAL OR ENCLOSE

THE POP-UP. WHEREAS WITH INCISED

POP-UPS THE BACKING SHEET OPENS

TO 90 DEGREES FOR EFFECT, WITH 1 Cut out a rectangle of medium- or 2 Fold the paper rectangle in half, so that the
MULTIPIECE DESIGNS IT OPENS heavyweight paper. Crease it down the center, tabs are on the outside. Apply glue to each tab.
then crease it across the bottom. Make a short Make a valley crease down the center of the
FLAT, TO 180 DEGREES.
slit at the bottom edge to separate two tabs. backing sheet. Stick one tab to the backing
sheet, so that the central crease on the backing
sheet touches the crease on the pop-up. Fold
the other half of the backing sheet on top, so
This technique requires more construction
that it sticks to the other tab.
than the incising methods, but creates
forms that are more sculptural.

MATERIALS
Roughs can be made from medium- or
heavyweight paper, but finished works
should be constructed from thin, springy
card. The backing sheet may need to be
a heavy card, or even board, depending
on the stresses imposed by the pop-up.
Remember to use strong glue for the
finished construction, applying it
sparingly to the tabs.

SEE ALSO

Creasing and Cutting, pages 12-13

Origami Symbols, pages 16-17

THE COMPLETED
HORIZONTAL V
Opening out the backing
sheet reveals the pop-up.
The key here is to make the
crease on the backing sheet
lie exactly beneath the
crease on the pop-up.
 MULTIPIECE POP-UPS

HORIZONTAL V VARIATIONS

Almost every element of the horizontal V is variable, as long

as the pop-up crosses the crease on the backing sheet. For
example: the crease on the pop-up can move to one side
of the paper; the pop-up piece can be of any size; the
V-shaped angle across the crease on the backing sheet
can be anything between 1 and about 175 degrees (but not
completely straight); the crease across the bottom of the
pop-up shape need not be at 90 degrees to the vertical
crease; and the angles of the V on each side of the crease
on the backing sheet need not be the same. The letter B, the
arch, and the house examples here illustrate the variety of
forms made possible by changing the angle between the
arms of the V piece.

The arms of the V, in this case mirror

images of a tetter B, are folded back
against each other, so that the V is shut perpendicular to the central
tight. The tabs run along the crease on crease on the backing sheet.
the backing sheet.
POP-UPS

THE COMPLETED UPTURNED V

UPTURNED V BASIC EXAMPLE
Opening out the backing sheet reveals the
This method is similar to the horizontal V
pop-up. Using this method is an effective
technique, except that now the V goes up and
way to achieve height in a pop-up.
over the crease on the backing sheet, not flat
across it.

1 ! 1
:* i 1:
i 1
i 1

1 Cut out a rectangle of paper. Make a mountain 2 Fold the paper in half, along the
crease across the middle and two valleys across mountain. Fold back the tabs and apply
the ends. glue to each one. Make a valley crease
down the center of the backing sheet.
Glue one tab to the backing sheet, parallel
to, but a little way away from, its central
crease. Fold the other half of the sheet
on top, to stick to the other tab.

UPTURNED V VARIATIONS

As with the horizontal V, almost

every element of the upturned V is
variable. For example: the paper
Here, the angle of the tabs tapers. If the
rectangle can be of any size; the
V can become an X; the V can creases were extended, they would meet
be placed asymmetrically on the exactly at the central crease. For this
backing sheet; and the tab creases
need not be parallel to the crease
i A reason, the pop-up has to be placed
precisely on the backing sheet.
on the backing sheet.
Two pieces interlocked at the slits
create an X-shaped pop-up.
The form can, of course, be made
considerably more complex
than this example.

The mountain crease need not be

placed in the center of the pop-up,
but can be placed to one side.
 MULTIPIECE POP-UPS

LAYERING BASIC EXAMPLE THE COMPLETED LAYER POP-UP

This technique provides a series of raised horizontal planes, The pop-up will fold in half and collapse flat
like the tiers of a wedding cake. when the backing sheet is folded inward.

1 Construct three identical 2 Crease the center of a sheet of stiff card. Glue the pillars to a
pillars, creased as above. backing sheet of stiff card, one along the crease on the card and
Apply glue to the entire one on each side, parallel to the crease. Cut out a rectangle of
surface, then fold in half. paper and glue it to the tops of the pillars. The paper must have
a crease directly over the central pillar.

LAYERING VARIATIONS

Layering is the most sculptural

of all pop-up techniques, and the
most illusory (the layers appear
to be unsupported). The rule here
is that there must be at least
three supporting pillars, one
along the crease on the backing With complex
sheet and one to each side, constructions the key is to
parallel to that crease. However,
work layer by layer, making
other aspects of a layered pop¬
sure that each layer can be
up are variable. For example: the
folded flat before moving
top layer can be of any shape; the
pillars need not be symmetrically up to the next.
distributed; and the pop-up can
be used as the base for more
layers on top. or as a base for
other 180-degree pop-up
techniques.

The asymmetry of this shape

means that a wider pillar needs Four pillars are needed for this
to be built under the wider side design, two along the central crease
of the shape. and one on each side.
 BOXES SQUARE-ON BOX
The term "square on" refers to the position of
the box over the crease of the backing card.
POP-UP BOXES USE MULTIPIECE

TECHNIQUES TO CONSTRUCT ENCLOSED

FORMS. THEY CAN BE PLACED ON ANY

CREASE THAT OPENS 180 DEGREES.

THE SIDES MAKE A 90-DEGREE ANGLE

WITH THE BACKING SHEET, WHICH CAN

BE THE SUPPORT FOR ANY 90-DEGREE

Cut out the above shape, creating tabs where THE COMPLETED SQUARE-ON BOX
OR INCISED TECHNIQUES.
shown. Glue the end tab to the opposite end of When the box is pulled open to stand
the strip to create a square tube. Glue the lower square, its two mid-face creases should
tabs to the creased backing sheet, aligning the be directly above the crease on the
backing sheet.
central valley fold of the box template with the
No division relies on guesswork or trial
crease on the backing sheet.
and error: each is made by folding one
specific point to another, and each can be
proved accurate using geometric or
trigonometric theorems. They are all
quick and reliable, and do not require the
use of a protractor, ruler, or pencil. More
important, they are all supremely elegant.
Surprisingly, there is not just one way to
divide an edge or fold a polygon, but many.
Some methods are direct, while others
are more complex, revealing unexpected
and satisfying edge or crease alignments
during the construction.
SQUARE-ON BOX VARIATIONS

The square-on box may be elongated

to become wider, deeper, or higher.
Some of the creases can be added or
removed to create other shapes, such
SEE ALSO
as hexagons and cylinders. Structures
with an odd number of sides, such as
Creasing and Cutting, pages 12-13 triangles and pentagons, are more
Origami Symbols, pages 16-17 complex to construct, but are a good
technical exercise for the novice
paper engineer.

A hexagonal box will require more The two creases for a cylinder shape should be
creases than a square. positioned on the crease of the backing sheet.
 BOXES

DIAGONAL BOX

Again, the term "diagonal-' refers

to the box’s position in relation to
the crease of the backing card.

1 Cut out the above shape. Glue the end tab 2 Glue the lower tabs to a backing sheet, one on each side of
to the opposite end of the strip to create a the central crease, so that the crease on the backing sheet
square tube. lies exactly beneath the diagonal of the box. To make a box
with 90-degree corners, glue the tabs at 45 degrees to the
central crease.

THE COMPLETED DIAGONAL BOX

The diagonal box is perhaps a more elegant

structure than previous boxes, because it holds
its shape better. Nonsquare boxes can be made
if the tabs are not glued at 45 degrees to the
central crease.

MAKING A LID

A diagonal box can be topped off with a two-part lid.

1 To create a lid, make two 2 Glue one lid piece to the two faces of the box THE COMPLETED LID

identical lid sections as shown. already tabbed to the backing sheet, and the The two lid halves will interlock when the
Note the creases and tabs. other to the other two faces. backing sheet is opened and the box formed.
 PROJECT
WHAT YOU WILL NEED

POP-UP 3 sheets of 140Lb (210gsm) letter size (A4) card,

of different colors, here bright orange, red,
and yellow

SPIDER 1 sheet

(240gsm),
of 1601b (240gsm)

use any card

letter size [A4) card,
white: if you have difficulty finding 1601b
that is thicker than
the card used for the pop-up pieces, but that
THIS VIBRANT, COLORFUL PROJECT
will fold in the middle
ILLUSTRATES HOW YOU CAN BUILD Pencil

UPON THE BASIC PRINCIPLES OF THE V Craft knife

Cutting mat
FOLD TO CREATE EXCITING AND
Metal ruler
REALISTIC MULTIPIECE POP-UP PVA glue, to keep the work clean you may find
DESIGNS. FOR EASE OF WORKING, AND it easier to use a tube of glue with a dispensing
nozzle
TO ENSURE THE SURFACES OF THE 1Fine paintbrush [optional), to apply the glue if
CARD REMAIN CLEAN, ALWAYS ALLOW not using a tube
1 Protractor
THE GLUE TO DRY BEFORE CONTINUING

TO EACH NEW STAGE.

Creasing and Cutting, pages 12-13
Multipiece Pop-ups, pages 52-55
 PROJECT: POP-UP SPIDER

TEMPLATES

The templates are illustrated slighly smaller.

To reproduce the spider exactly, photocopy the
templates at 125%, cut them out, and draw
around them onto your colored card.

TIPS

When creating a fold line,

score the line from
the other side of the
template— it'll fold much
easier!

If you're not happy using

a knife to score, try using
a scoring stylus or a
ballpoint pen that has run
out of ink. The aim is to
compress the fibers of the
card so that it can fold and
flex but not break

Right body Left back leg

Details to feature on the

underside of templates.
POP-UPS

1 Use a pencil to transfer the spider templates 4 Apply PVA glue thinly where indicated on 6 Apply glue to the right tab of the head and
to the colored card. Using a craft knife with a the template to the left front leg. Hold the left position it on the right side legs. Allow the glue
sharp blade, and working on a cutting mat, body piece with the tabs facing toward you and to dry.
carefully cut out all of the pieces. fix the left front leg to the back of and below the
two legs.

2 Use the craft knife

and a metal ruler to
score all the fold lines.
Refer to the templates to ascertain which should
be mountain creases and which are valleys.

3 Make the folds and use a pencil to mark the | 5 Apply glue to the longer tab of the right side legs piece,
places where the various elements will be and fix this in position on the left body.
adhered, as indicated on the templates.
10
11 Apply glue to the Apply glue to the
PROJECT: POP-UP SPIDER

remaining tab on the

head. Fold the left body piece down onto the
glued tab on the head to finish fixing this section.
Drawing plan
for Step 9

8 Apply glue to the overhanging tab of the right

side legs piece and attach to the right body remaining tabs on the exposed tab on the left
where indicated on the template. left and right body, then back leg piece and the
fix the structure you have so far to the base, tab on the left body, then fix the left back leg
taking care to ensure that it is lined up correctly. to the left body and the right body, taking care
with alignment. Once in place, carefully close
9 Using the drawing plan above right as a guide,
the card flat and leave to dry.
fold the sheet of 1601b (240gsm) card in half.
Measure 4in. (10cm) along the crease from the
top and mark the positions for the fixing tabs of
the left body pieces, at 45 degrees to the crease.
You can draw the shapes of the remaining tabs
on the left body onto the base card —do this by
simply lining up the longest sides of the tabs
against the 45-degree angle mark. You can then
draw around your tab to get the exact shape.
The longer and closer side of the left body sits
1’Ain. (3cm) away from the furthest side of the
right body and is directly parallel to it. Draw the POP-UP SPIDER

right body tab mark by going in toward the spine Give the completed spider
by Vein. (1.5cm) and use the remaining tab on the pop-up to a friend to open
jor a great surprise.
bottom of the right body piece to draw around to
get your positioned spot.
t
EQUIPMENT CHECKLIST

Basic equipment is inexpensive

and much of it can be found at
home. The main exception is a
craft knife with replaceable blade. \

• Drawing pencil
• Craft knife and cutting mat
• Metal ruler

• Compass
• Sharp scissors UNIT 3
• Fine embroidery scissors for COLORED PAPERS
delicate work
Using colored papers
• Small stapler or adhesive tape for sculpting can make
• PVA glue or Duco cement a cheerful departure
• Paintbrush from the more
traditional white.
OPTIONAL EXTRAS

An assortment of paperclips,
clothespins, and tweezers will be
invaluable for holding the work
during construction. A roll of

SCULPTURE
masking tape will also be useful,
since it can be removed easily
from the work.

SYMBOLS

The symbols used throughout this

section are the same as those
used for origami, so turn to pages
16-17 for further explanation.
: SCULPTING IN PAPER IS JUST AS CREATIVE AS WORKING IN WOOD, METAL, OR STONE,
This symbol is for glue.
When it is red, the glue | AND LIKE ALL TRUE ART, IT CAN BE PRACTICED AND ENJOYED AT ANY LEVEL. EVEN
is applied on top, when
: THE INEXPERIENCED CAN PRODUCE ATTRACTIVE SCULPTURES THAT WILL GIVE
it is green, it is applied
underneath.
: PLEASURE TO THEMSELVES AND OTHERS.

ABSTRACT PRESERVE
INGRID SILIAKUS JEFFREY NISHINAKA
Fabricating and Jeffrey Nishinaka's relief
designing intriguing paper sculptures make use
sculptures takes of slightly raised pieces that
time, and for some is are scored and curved to
a meditative process. create different angles and
For Siliakus the gradations of light. You can
biggest attraction is see the scores at the bottom
the end result, which of the clouds, on the bird's
almost always looks feathers, and in the
more attractive than horizontal ripple at the base
she had imagined. of the mountains. Scoring the
paper creates crisp, clean
folds whereas curving
helps to create the three-
dimensional illusion seen
in the trunks of the trees.
 At the same time, paper sculpture has practical Colored cartridge paper, available in a wide range of
applications, too. It is widely used in the teaching of shades, makes an attractive departure from tradition.
art and design, for education generally, and in displays, Remember, though, that colored paper often has a sheen
exhibitions, advertising, and book illustration. on one side only, and you will get the best effect when light
Broadly speaking, paper sculptures fall under one of falls on the sculpture if you use the matte surface as the
two categories. Full-round sculptures can be viewed from face side. Also, be sure to choose papers that have the
all sides, while half-round or low-relief sculptures are color right through; papers that are colored on the surface
designed to be viewed from the front only. The effect of only will show a white line when cut or scored.
light and shade is an important factor in the completed Gold, silver, and other metallic foil papers are frequently
sculpture, and the artist will need to consider how best used to enhance a sculpture, but they have little or no
to exploit this when working out the original design and inherent strength and need to be glued to a sheet of
selecting the arrangement of the basic forms. cartridge paper before use. They also have no depth
to their decorative surface so cannot be scored.
PAPERS Giftwrap offers a host of designs that can be used to
Paper sculpture is traditionally carried out using white great effect. The paper can be backed, like foil, or designs
paper, which is readily available in various weights. cut out and applied to sections of a sculpture.
The best choice for the beginner is cartridge paper. Mounting board, thin card [in a variety of thicknesses),
Particularly large structures can be made from heavier and corrugated cardboard can be used to make armatures
paper, but this is more difficult to work. At the other and display bases. Modern styrofoam sheets can be
extreme, ordinary printer or photocopy paper is quite especially useful, combining lightness with rigidity.
suitable for small, low-relief subjects.

WARPED STELLATION
MATTHEW SHLIAN

Matthew Shlian uses his

paper-engineering skills to
create kinetic sculptures
that have led to
collaborations with
scientists at the University
of Michigan, working on the
nanoscale and translating
paper structures to micro¬
origami. Researchers see
PAPER SCALES, MATTHEW SHLIAN paper engineering as a
As a paper engineer, Matthew Shlian’s work is rooted in print media, metaphor for scientific
book arts, and commercial design. Beginning with an initial fold, a principles, whereas Shlian
single action causes a transfer of energy to subsequent folds, which sees their inquiries as a
ultimately manifest in drawings and three-dimensional forms. Shlian basis for artistic inspiration.
states that his focus is on the process rather than the final product.
PAPER SCULPTURE

CONES AND MULTIPLE USES

A cone may be used in a variety of ways, for
BASIC CONES

Circular cones may be used to represent many

example as the body of a full-round sculpture things in paper sculpture, and their natural
CYLINDERS or, in a very shallow form, the eye of a low- rigidity makes them an ideal base on which

relief figure. Cylinders of different sizes may

be used as the body and neck of a full-round
THE ESSENCE OF PAPER SCULPTURE figure, as internal spacers in a construction,
IS REPRESENTATIONAL SHAPE. THE or as a supporting or decorative column in a
SHALLOW FORM OF A LEAF, OR A FACIAL
design. The simple cylinder is not very strong,
but may be transformed into a load-bearing
MASK PRODUCED PERHAPS BY SCORING
structure by scoring and bending.
AND FOLDING, RELIES ON THE BASIC
<•
STRUCTURAL FORMS OF CONE AND

CYLINDER, SHAPES THAT CAN BE

SEE ALSO
PRODUCED USING THE BENDING,

SCORING, AND FOLDING TECHNIQUES Creasing and Cutting, pages 12-13

Origami Symbols, pages 16-17 Cut a triangular segment from a circular piece
DETAILED ON PAGES 12-13.
of paper, as shown. Apply glue fully along edge
A and make up the cone by overlapping edge B
onto A.

INNERRINGS
INGRID SILIAKUS

This sculpture is
designed using four
outer white sides and
two inner black ones,
all cut and folded out
of a separate piece of
card. The outer rings
are positioned in
different dimensions,
within which are cut
and folded motifs
symbolic of the basic
elements, such as
water and fire, along
with figures and other
shapes with symbolic
value.
Two of the opposite
parts in the outer
section are invisibly
attached to each other
by means of pins and CONE SELECTION
slots on the edges. Varying either the radius of the circle or the size
These locks can be of the segment that is cut away produces cones of
opened, after which the different diameters and heights. The latter will give
object can be folded cones of differing diameter and height from a circle
inward into a two- of the same size.
dimensional shape.
 CONES
ANDCYLINDERS
^ ,5

CONCENTRIC SCORED CONES PLEATED CONES BASIC CYLINDERS

Variations in this cone are made by adjusting Variations in this cone are made by adjusting Basic cylinders are simply formed by rolling
the distance between the scored lines, which the distance between the scored lines, which a rectangular piece of paper. Leaving a tab or
must always alternate between valley and must always alternate between valley and overlap when cutting to the required size will
mountain crease. mountain crease. make it easy to form the completed cylinder.

SCORED CYLINDERS

A rectangular piece of paper scored, as

shown, on the concave side will produce a
cylinder with a recessed curved surface.
The paper is fastened together against the
natural curve, and between the scores the curve
is manipulated over a wooden dowel to achieve
the fluted effect.

Cut out a circle of paper and score concentric Make alternate face and reverse scores that
circles alternately on the face and reverse radiate out from the center of the paper circle,
side of the paper. In this instance each circle with the help of accurate measurement and
increases in radius by 1 in. (25mm) to give an careful folding, to give a pleated effect. Gluing
overall diameter of 10in. (250mm). Cut away a will be easier if a small circle is removed from
triangular segment of the circle and complete the center of the cone.
as for the basic cone.

SCORED CONE SELECTION PLEATED CONE SELECTION

You can clearly see the difference in distance Different sizes of starting circle will produce cones
between scored lines on these cones. As with the of varying height and diameters. The surface pattern
basic cone, the size of the cutaway segment will is achieved by cutting across the reverse scores.
determine the height and diameter of the completed
cone: the largest cone here was produced by
removing a 30-degree segment.
PAPER SCULPTURE

STRAIGHT SCORING

DECORATIVE SEE ALSO Accurate

desired
scoring
effect.
is the key to achieving the

Creasing and Cutting, pages 12-13

FORMS Origami Symbols, pages 16-17

COMBINATIONS OF STRAIGHT AND

CURVED SCORES CAN PRODUCE A

MULTITUDE OF INTERESTING AND

COMPOUND SURFACE SCORING
DECORATIVE FORMS, IDEAL FOR PANEL
Surface design can be achieved by compound
AND BORDER DECORATION AND scoring, always on the face side. The simple surface
design on the larger example is the result of straight
DISPLAY WORK.
scoring with the paper curved for effect; dimensions
are a matter of choice, but the marking out needs
to be accurate. The same design has also been
developed into a cylindrical shape, together with a
cylinder using curved scores for its surface design.

Score a rectangular piece of paper alternately

on face and reverse sides at ’Ain. (1.3cm)
intervals, as shown. Cut the paper diagonally,
then, working on a flat surface, apply glue to the
base of each pleat at one end only. Pinch the
pleats together.

STRAIGHT-SCORED SHAPE

The two shapes obtained from a single piece of

paper may be used to produce the leaf effect. ,
 DECORATIVE FORMS

CURVED SCORING

Many designs are produced by the use of curved scoring, and a

combination of carefully placed mountain and valley creases can
create flowing relief forms.

One arm of a U-shape scored with

alternate mountain and valley
Three mountain scores in a triangle
creases, as shown, can be bent
When planning a design, draw the creases onto the paper shape first, create this cushion-like form.
across the other.
either freehand or using a drawing compass. Score and bend each crease
into shape, using controlled pressure and taking your time— if you are too
forceful the paper will buckle.

CURVED SCORING SELECTION

The technique of curved scoring produces forms
with movement and expression, as you can see in
the examples here and over the page.
PAPER SCULPTURE

Only the mountain crease reaches to the end of the tail of this
shape. Apply glue where the two tails cross over each other to
hold the curl in position.

REFLECTION ON SAGRADA FAMILIA

INGRID SILIAKUS

When planning her remarkably detailed architecture sculptures,

Ingrid Siliakus undertakes much research, gathering photographs,
architectural maps, and plans. When all the information is in, it is studied
and decisions made regarding which side of the building is the most
suitable to translate into a piece of paper architecture.
The design starts with a drawing that details valley and mountain folds
and necessary cuts. The drawing is cut and folded to see the result, then
adjustments and additions are made to the design. Again, the drawing is
cut and folded, a process that can result in up to 30 prototypes.
 DECORATIVE FORMS

TEXTURED SURFACES
LIGHTING A range of expressive textures can be created by scoring
and cutting the surface of the paper.
A relief sculpture owes its impact almost
exclusively to the way it is lit Light is less vital
to a three-dimensional, freestanding sculpture,
however it still has the power to make a good
piece look superb. Experienced sculptors try to
consider the effects of light from the moment
they begin a design.

Always light a relief sculpture from a single

source at the side or above. Front lighting does
not create shadows and makes the relief appear
flat and uninteresting, while side lighting
produces a play of light and shade across the
surface. With these considerations in mind,
decide carefully where to best place your
sculpture for optimum effect.

Cut texturing will only be visible if it creates a pattern of light and shadow,
so think about where the piece will be lit from before cutting.

GOLDEN GATE BRIDGE

JEFFREY NISHINAKA

When Jeffrey Nishinaka photographs his relief

paper sculptures, he ensures that his light
EFFECTIVE AND INEFFECTIVE LIGHTING
source is at an angle that is more or less level
Compare and contrast the play of light and with the piece, almost pointing away and barely
shadow over the surface of the shapes in these skimming the surface of the sculpture. This
two examples, the first lit from the bottom and creates a more dramatic lighting effect and
the second lit from the top. Depending on how brings out the illusion of three-dimensionality.
the light hits the folds of the shapes, in some In addition here, the clouds are lit from behind,
cases cast shadows create the impression of using small, regular incandescent bulbs,
depth, whereas some of the folds do not cast similar to Christmas tree Lights. The clouds
shadows and so get tost. are cut away from the background to fit the
bulbs in position.
PAPER SCULPTURE

ASSEMBLY ASSEMBLY
When assembling your sculpture, sometimes
to be built onto it. A medium-sized full-round
sculpture may have as its central support a
adhesive tape, double-sided tape, or an rolled paper cylinder, a poster tube, or a
AND unseen staple may be all that is needed. wooden dowel, with suitable crosspieces
However, for most fastenings, dse a good- if necessary.
ARMATURES quality glue that is quick drying but that
allows you time to change your mind.
A half-round or low-relief sculpture is
built up in layers and usually requires a flat
Adhesive pads are useful when mounting a armature that both supports the components
half-round or low-relief sculpture for display, and keeps the sculpture in shape. The
WHEN IT COMES TO COMBINING THE and you can easily remove the sculpture by armature has the same profile as the
VARIOUS PAPER SHAPES TO CREATE slicing through the pad. sculpture, but on a slightly smaller scale,
THE COMPLETE SCULPTURE, THERE Alternatively, you can use tabs to attach so that the sculpture can be attached to it
one component to another, or a half-round by means of tabs.
AREANUMBEROF ASSEMBLY METHODS
sculpture to its armature. These can be
TO CHOOSE FROM. FOR SOME DESIGNS
separate or integral.
YOU CAN USE ADHESIVES ALONE, WHILE

FOR OTHERS YOU WILL FIND TABS ARMATURES

SEE ALSO
INVALUABLE. SOME SCULPTURES WILL A full-round sculpture needs an internal
NECESSITATE THE USE OF AN
support that generally follows the shape of Cones and cylinders, pages 64-65
the sculpture and enables other components Decorative forms, pages 66-69
ARMATURE, AN UNSEEN INTERNAL

SUPPORTING STRUCTURE.

TABBING METHODS

Tabs can either be an integral part of the shape being cut, or be made from strips of
paper attached to the shape. Separate tabs are attached to the inside of the component
part of the sculpture, giving it a smooth unbroken contour, so are generally preferable
to integral tabs when the contours are visible.

1 Cut integral tabs as part of the component. 2 Alternatively, cut suitable strips of paper to 3 Pull each tab through its corresponding slit
Mark and make slits the same width as the tabs make separate tabs. Attach these tabs to the until a tight fit is achieved. Bend each tab over
in the places where the tabs will meet the underside and just inside the component using and secure in place with adhesive tape or glue.
armature or backing sheet. glue or adhesive tape. Make slits the same width
as the tabs in the places where they will meet
the armature or backing sheet.
 ASSEMBLY
ANDARMATURESfrilfe

HALF-ROUND AND LOW-RELIEF ARMATURES

For many half-round sculptures, the armature
itself is built up in sections with suitable
2 Affix the paper elements to
spacers, such as rolled paper coils, giving the
the armature pieces using
effect of depth to the completed work. For small
tabs or adhesive methods.
sculptures, card is often adequate, but for large
The lower leg in this
structures the armature may be made of
example is reversed to
masonite, plywood, or styrofoam board. Do not
illustrate how paper is fitted
overlook the possibilities of readily obtainable
to the armature piece using
corrugated cardboard. This has little rigidity,
tabs. Adding paper to the
but makes a perfectly good armature if two
armature is a layering
layers are glued together with the corrugations
process that builds height
at right angles. Be careful, however, if you opt
and depth.
for an armature of flat card. This is liable to
warp, and it is wise to cover both sides of the
card with cartridge paper.

3 When all the paper

elements have been
added, fix any
separate pieces onto
the main sculpture.
In this example the
rear front and hind
legs are spaced away
from the back of the
main body using
rolled paper coils.
PAPER SCULPTURE

PROJECT

NIGHTFLIGHT
THIS LOW-RELIEF SCULPTURE OF

AN OWL IN FLIGHT SHOWS HOW

THE TECHNIQUES DESCRIBED IN

THE PRECEDING PAGES BUILD

INTO A FINISHED DESIGN.

The owl has a wingspan of 16in. (40cm) and

a height of 17in. (42cm). When completed,
it should be spaced slightly away from the
1-1-1 surface of a display board to give a three-
dimensional effect.
The armature pieces should be made using
thin card, whereas all the sculpture pieces
can be made using cartridge paper. Feather
effects are cut and raised, and edges are
fringed to the approximate depth indicated
on the templates.

WHAT YOU WILL NEED

• Tftin card
• Cartridge paper
• 'Craft knife
• Cutting mat
• Scissors

• PVA glue
• Paintbrush

NIGHTFLIGHT

Careful layering, shaping, and scoring can

create a convincing illusion of depth and
volume, even though the sculpture is in
very low relief.
 PROJECT: NIGHTFLIGHT

TEMPLATES

The templates are

illustrated at
approximately one-
third full size, but may
be scaled up to any
required size.
Photocopy the
templates and transfer
the armature pieces
to thin card and the
sculpture elements to
cartridge paper. Use
scissors to cut out all
the elements and a
craft knife to score
the creases and
make the incisions.
 PAPER SCULPTURE

3 Attach wing piece 3 over the top of wing pieces 1 and 2,

using the tabs. Glue the tip of wing 3 to wing 2. Glue the base
of wing 3 to the base of the wing armature. Position body
piece 2 to body 1, slightly higher on the left than on the right,
to accentuate the illusion of a solid body thrusting forward.
Fold the tabs over and fix them to the back of the armature.

1 Apply glue to the marked area at the top of

armature B, and fix armature A in place.

4 Position eye pieces 1 and 2 next to each other, with the

central fringe overlapping and bending up, and glue the beak
in position. Glue ey^ sections 3 and 4 in position over 1 and 2.
Attach separate tabs to the back of each pupil and use them
to attach the face to body piece 2.

2 Position wing pieces 1 and 2 over the wing armature and glue the narrow
strip at the bottom of wing 2 to the armature. Position body piece 1 over
the body armature. The unit is wider than the armature, so curve it
forward to make it narrower. Fold the tabs on the body and wing pieces
5 To finish, use glue to attach the tail and feather pieces to
to the back of the armature pieces and glue in place.
the back of armature B.
 PROJECT:NIGHTFLIGHTfldfc

ARMATURE B BODY 1

EYE 1 AND 2

Mirror images of each other. For each, cut out

the center. Cut to center from the outer edge and
glue A over B to form a shallow cone. Score
around the perimeter, then cut the fringe.

EYE 3 AND 4

For each, cut from the edge to the center and

score where shown. Overlap the cut edge to
form a shallow cone and glue. When dry, trim
off the edge to leave a very narrow flange.

BODY 2

Make V-shaped
incisions to
suggest feathers
and push the
points forward.
Make a mountain
score to allow the
right-hand section
to curve upward.
FEATHER
Curl the
feathers over
a scissor
BEAK
blade.
 BOOKBINDING AWL

A heavy-duty awl is
used to punch holes in
several sheets of papr-

EQUIPMENT CHECKLIST

When starting out in bookbinding,

begin by purchasing the basic
tools listed here. Other equipment
can always be purchased later.
• Pencil
• Craft knife

• Cutting mat
• Metal ruler
• Scissors
• Paste
• Paste brushes

• PVA glue PASTE BRUSHES

• Paintbrush Round-headed brushes
• Bone folder are the most suitable
• Bookbinding or embroidery for applying paste. You

BINDING
needle (needles should be will need at least one.
relatively small with a very sharp but ideally a selection of
point and an eye of a size to three in different sizes.
accommodate your thread]
• Binding materials
• Awl and hammer (the size of awl
will depend on the width of your
binding material)
• Brayer (small roller)
BOOKBINDING ALLOWS YOU TO CREATE SOMETHING THAT IS BOTH
• Weight (such as a brick wrapped
in protective paper) BEAUTIFUL AND FUNCTIONAL, WHILE ALSO INDULGING A LOVE OF
• Metal clips (useful for holding
pages together) PAPER. PAPER IS, OF COURSE, AN ESSENTIAL COMPONENT OF

BOOKBINDING, AND THERE IS DELIGHT TO BE HAD IN SELECTING

PAPERS OF SPECIFIC COLORS, WEIGHTS, AND TEXTURES. TO SUIT

• A PARTICULAR BOOKBINDING PROJECT.

v *

OUT FOR A WALK HEADLAMP

HANNAH BROWN HANNAH BROWN

Bookbinding techniques This case binding, made

allow you to personalize up of six sections sewn
your own note- or together on three tapes,
address books, or even features a book cloth cover
add covers to existing and attachments including
written pages. Hannah ribbons, a safety pin, and
Brown has taken an jewelry chain link.
existing lined and sewn
notebook, divided up
and lettered the pages
to turn it into an
address book, and
sewn on a card cover
decorated with found
objects.
 PAPERS ADHESIVES
A book's pages need to be able to withstand repeated Adhesives are referred to as either pastes or
opening and handling, so consider usings card-weight glues. Paste is made from wheat flour cooked
paper. Watercolor paper, printmaking paper, and with water to create an inexpensive, effective
calligraphy papers work well, as do stiffer handmade adhesive. Its slow-drying characteristic
papers. These papers can also be used to make soft makes it very useful when positioning and
covers. Ordinary photocopy paper can take some wear and repositioning a board on cover paper. It is
tear, so you can choose to use this for the pages of a applied with a brush and must be refrigerated to
notebook. Photo albums and scrapbooks, however, require prevent spoiling. PVA glue is quick drying and an
sturdier pages. excellent complement to wheat paste: store it in a
Hard covers are made from boards covered with paper small cone-topped bottle for handy application and
or book cloth. Regular cardboard is too thin and vulnerable airtight storage.
to piercing to use for bookbinding, so millboard or
pasteboard are used instead. Millboard is the strongest BINDING MATERIALS BINDING THREADS

and highest quality board. However, it is very dense and There are many options when selecting a binding Remember when
difficult to cut by hand. Pasteboard is of medium density choosing a binding
material, such as colorful embroidery threads, linen
material that the
and so easier to cut and less expensive to buy, and is bookbinding threads, ribbon, and raffia. Select thread needs to be
available from good art supply stores. a material that best suits the overall look and strong enough to
A pliable and sturdy cover material is usually glued to functionality of the book. For a sewn multisection withstand movement
a board. Look for paper that is thin enough to fold neatly book, a thin, strong bookbinding thread will secure within the book, but
not so thick that it
around the corners and produce tight, crisp points and the sections tightly.
bulks up the spine.
edges. Very thick paper will not fold neatly and is difficult Coating binding thread with a thin layer of beeswax
to make into a point. Book cloth is another option. This is a helps the thread to pass through the holes smoothly
cotton-based material with a paper backing that ensures and makes it grip the paper once in place. Decorative
that the adhesive does not penetrate the cloth. ribbons should not be waxed; embroidery and bookbinding
threads should. Alternatively, look for waxed linen thread
in the beading section of your local craft store.

CAROUSEL BOOK
HEATHER WESTON

This carousel book, also

known as a star book,
is made by joining three
separate, differently sized
INFINITY BOOK concertinas together.
ANNE RIZK When closed it sits flat
This piece was designed as a blank like a normal book, but
binding to house material divided into two when opened fully it
distinct sections. It takes as its starting point the forms a visually intriguing
concertina-fold page, but instead of simply binding this shape that looks like a
into two cover boards, two concertinas are cleverly carousel from the side
bound at one end by single cover boards and at the other and a star when seen
end into the two inside covers of a case-bound shell. from above.
BOOKBINDING

PREPARING PRACTICE
You may want to familiarize yourself with the
FOLDING

When folding paper for bookbinding use a bone

techniques of preparing the book block by folder to give a crisp edge.
THE BOOK practicing on scrap paper. Save your practice
pieces and use them to remind ^ou of the
BLOCK steps as you move on to making and binding
your own books.

PREPARING THE GROUP OF PAGES THAT

MAKES UP THE BOOK BLOCK-OR TEXT

BLOCK-REQUIRES KNOWLEDGE OF

A VARIETY OF BASIC TECHNIQUES.

SEE ALSO
MASTERING THESE WILL HELP YOU
Paper Grain, pages 10-11
CREATE A BOOK THAT WILL HOLD

TOGETHER AND LAST.

1 Take one edge of the paper to the other edge.

Press the bone folder into the center of the
folded edge and move it outward, pressing
firmly to flatten one half of the fold.

2 Return the bone folder to the center of the fold

and run it over the other half of the fold, moving
FLYING HIGH out from the center, creating a crisp edge all
HANNAH BROWN
along. Use this technique when folding a single
This card soft cover page (as shown) or several pages in a section.
is wrapped around a
single-section notebook
using five stitches.
 PREPARING THE BOOK BLOCK

ALIGNING THE BOOK BLOCK MAKING HOLES

The pages of the book need to be carefully To pierce holes in single sheets of paper— or a THE PARTS OF THE BOOK
aligned before binding. small number of pages— prior to stitching you
can use a bookbinder's or embroidery needle, Each part of the book has a specific name that
but to make holes in stacks of paper, or to make you wilt see used throughout this chapter.
larger holes, use an awl.

1 To create an evenly aligned stack of paper, 1 When using a needle, first mark the holes,
jog the book block into alignment by tapping it then pierce each mark with the needle, pressing
firmly along the head of the stack, then along firmly but gently into the paper.
the foredge.

2 Handmade paper cannot be jogged easily

because of its uneven deckled edge. In this
instance, place each sheet on top of the one
before, lining up the binding edge as closely
as possible. 2 For larger holes or thicker stacks of paper,
use an awl to punch the holes. Place a mat or
card under the item to be punched to protect the
work surface. Position the awl at a 90-degree
angle to the book block, and hit the awl firmly
with a hammer. Select a thicker awl for raffia,
heavy cord, and leather thong bindings, and
thinner awls for ribbon and thread bindings.
BOOKBINDING

SOFT AND MAKING A SOFT COVER

A soft cover can be sewn into a single-section

book block using pamphlet stitch (see page 82),
HARD COVERS or use the casing-in method described below to
paste the cover to the book blockv

SOFT OR HARD COVERS CAN BE USED

TO CASE IN THE BOOK BLOCK. SOFT

COVERS CAN BE MADE FROM CARD OR

STURDY HANDMADE PAPERS, AND

OFTEN HAVE A HOMECRAFTED LOOK 2 Mark these dimensions on the cover paper.
AND FEEL. A HARD COVER IMPARTS Select a paper that is flexible enough to fold,
but strong enough to withstand use.
A MORE FORMAL APPEARANCE TO A

BOOK. IT PROTECTS DELICATE INSIDE

PAGES AND HELPS TO KEEP THE BOOK

CLOSED, SO MAYTHEREFORE BE MORE

SUITED TO A BOOK WITH MANY PAGES. 1 To prepare a soft cover, first measure the
dimensions of your book block, remembering
to take into consideration the depth at the
spine, which will need to be added to the
length measurement.

HARD COVERS

To create a tougher stab-

bound book, make a hinged 3 Using a craft knife and ruler with a metal
front hard cover and a
edge, trim the paper to the marked dimensions.
nonhinged back hard cover.
Follow the principles used
for making a hard cover,
but replace the spine gap
with a gap of %in. (1cm) to
form the hinge.

SEE ALSO

The Parts of the Book,

page 79
Preparing the Book
Block, pages 78-79
Single-section 4 For a single-section book the cover paper
Binding, pages 82-84 can simply be scored and folded in half, using
Multisection Binding, a bone folder to give a crisp crease. A cover
pages 85-87 for a thicker, multisection book will need to be
scored in two places to accommodate the depth
of the spine (right).
 SOFT AND HARD COVERS

MAKING A HARD COVER

A hard cover can be used with books that are bound by any
of the techniques described on pages 80-85.

1 Measure the front of your book block and

transfer these measurements to a sheet of
pasteboard, adding an extra 3/uin. (5mm) at top,
bottom, and foredge. Use these measurements
and a craft knife to cut two pieces of pasteboard
for the front and back covers. To measure the
spine gap, position the front and back boards on
5 the book block, allowing the spine of the book If you would like to apply a bookmark ribbon,
block to overhang the boards by about 3/i*in. cut it to one and a half times the height of the
(5mm). Wrap a strip of paper around the spine book's cover and glue in position with PVA glue.
and mark on it the distance from the spine edge
of the front cover to the spine edge of the back
cover. This is how wide your spine gap should be.

2 Cut cover paper or book cloth to a size that

encompasses both cover boards and the spine
gap, plus an extra %in. (2cm) all around. Use a
paste brush to apply paste or glue to the wrong
side of the cover paper or cloth, working from
the center out. Leaving enough space for the
6 Take your book block and, starting from the
spine, carefully place the boards on the cover
center and working out, apply paste to its front
paper, making sure the tops and bottoms are
cover. Using both hands, carefully position the
straight and level. Diagonally trim off each
front of the book block on the inside of the case,
corner of the cover material within about 3/i6in.
ensuring that an even amount of cover edge
(5mm) of the corner of the board. Use a metal
shows all around. Smooth down.
ruler to carefully fold the long edges of the
cover material over onto the boards.

7 Paste the book block's back cover in the same

way and position onto the inside back cover of
the case. You will need to lift the front cover
at 90 degrees to allow the glued back page to
reach the back cover. Place sheets of scrap
43 Use a bone folder to tuck in the paper or cloth Run a bone folder along the outside of the
paper between the case and the front and back
around each corner of the boards, then fold over spine to define the spine edges, then place the
pages to absorb moisture from the glue and
the short edges and press down smoothly. hard cover under a weight while it dries.
place the book under a weight while it dries.
PTI BOOKBINDING

SINGLE¬ PAMPHLET STITCH

Pamphlet stitch is based on three, five, or
SEE ALSO
even seven holes— depending on the size of i .

SECTION the book— and using it is one of the simplest Preparing the Book Block, pages
Soft and Hard Covers, pages 80-81
78-79

methods of binding a single section. The

BINDING thread can be hidden or visible as part of
the design.
Pamphlet bindings can be fastened together
A SINGLE-SECTION BOOK IS MADE UP with colored embroidery thread, cord, ribbon,
OF A BATCH OF PAGES FOLDED AT THEIR raffia, and even shoelaces. Select a THREE-HOLE PAMPHLET STITCH

CENTERS, WITH AN OUTER SHEET-

bookbinding or embroidery needle with a A waxed embroidery or linen thread will pass
thickness similar to the thread to be used through the holes easily.
SOMETIMES OF HEAVIER PAPER OR
on the book. Thicker sewing materials, such
CARD-THAT ACTS AS THE SOFT COVER
as leather cord or heavy ribbon, will need a
OF THE BOOK, OR THAT CAN BE PASTED thicker needle with a larger eye.
TO THE INSIDE OF A HARD COVER.

CONSTRUCTING THE BOOK

Stack each page inside the next, and position

the stack in the cover. The pamphlet stitch
passes through all layers.

1 Jog several sheets of paper into alignment and

fold in half using a bone folder to create a sharp
crease. Measure the center point along the fold
and mark its position. Mark a hole on either side
of the central mark to equally divide the spine
along its length.
Pages

Cover

2 Pierce each of the three holes with a needle.

1
 SINGLE-SECTION BINDING

3 Thread the needle with colorful thread and 6 Insert the needle into the remaining hole, pull 7 Tie a double knot at the center of the stitching
begin stitching by pushing it through the center through to the inside, and pull taut. with the remaining thread and the tail from
hole from the inside of the book. Step 4. Trim the thread with scissors, leaving
’Ain. (1.3cm) at the ends.

>
COMPLETED THREE-HOLE
BINDING
The sewing can be reversed
4 Pull the needle and thread out, leaving a tail
to create a decorative bow
of about 3in. (7.5cm) inside the book. Thread
on the outside of the spine.
the needle into the top hole, pulling it through Enter the center hole from
to the inside until taut. the outside instead of the
inside and follow the same
order of stitches.

5 Push the needle through the center hole again

and exit on the outside of the book. Pull the
thread taut.
BOOKBINDING

FIVE-HOLE PAMPHLET STITCH

This variation of the three-hole pamphlet stitch solidly anchors the pages of the
section and adds more visual interest to the spine. Use the five-hole stitch when
working with large pages that need greater stability, or when using the binding
threads as decoration. Beading along the exterior spine looks especially effective. '

5 On the inside of the book, push the needle into

the hole second from the end.

1 Prepare the book block and cover as for three- 3 Push the needle through the end hole, from
hole pamphlet stitch. Measure and mark five tne inside to the outside of the book. Next thread
holes along the fold, including a center hole and through the hole just below the end hole, and
two holes on either side that equally divide the pull the thread taut to the inside.
spine along its length. Pierce the holes with a
bookbinder's or embroidery needle.

6 Thread through the center hole from the

outside and pull the thread through. Tie a knot
at the center hole. To hold the knot securely in
place, tie a second kpot over the first.

2 Thread the needle and pull it through the 4 Bypass the center hole and thread through the
center hole, starting from inside the book. next hole down from inside to outside. Push the
Push the needle through the hole just above needle through the end hole.
the center hole next. Pull the thread taut and
leave a tail of about 3in. (7.5cm) inside the book.

COMPLETED FIVE-HOLE BINDING

Increasing the number of holes'for sewing

through is a useful method as book sizes
grow, so if you need to you can use the
same sewing pattern with seven holes.
5 Use a bookbinder's or

SINGLE-SECTION
BINDING
• MULTISECTION
BINDING
^ 15

MULTISECTION BOOKS CAN BE USING TAPES

MULTISECTION THOUGHT OF AS SEVERAL SINGLE¬ While bookbinding tape is an obvious material
SECTION BOOKS STITCHED TOGETHER to use, the tapes can also take the form of
BINDING AND STRENGTHENED WITH TAPES.
decorative papers or ribbons, giving the
bookbinder some attractive options for
A SOFT COVER CAN BE PASTED BENEATH
embellishing and decorating books.
THE SEWN TAPES, OR THE WHOLE BOOK

CAN BE CASED-IN TO A HARD COVER.

SEWING ON TAPES

This multisection book is bound by two tapes.

For a larger book, increase the number of tapes
to anchor the sections and bind securely. Use
waxed linen thread to ensure the sections are
well secured.

43 Cut a sheet of colored paper to the same Clip the template to the stack of sections,
length as the section spine. The paper does not ensuring that the sections and template are
have to be the same width, since it wilt be used flush with the edge of the spine. Using a pencil
for a template for piercing the holes. Measure and ruler, draw straight lines down the side of
the width of the tapes; in this case they are 1%in . the spine, following the marks made on the
(3.5cm) wide. Mark the placement of the first template, to indicate the holes for piercing.
tape starting 'Ain. (1.3cm) from the top of the
spine. Make a second mark IVsin. (3.5cm) from
1 Use a bone folder to fold 24 sheets of paper
the first mark, indicating the width of the tape. SEE ALSO
into six sections of four sheets each.
Repeat the step for the second tape, making a
mark 'Ain. (1.3cm) from the bottom of the spine ThePartsofTheBook,page75
and then 13/ain. (3.5cm) from that mark, to Preparing the Book Block, pages 78-79
indicate the width of the tapes. These four Soft and Hard Covers, pages 80-81
marks will show where to pierce the holes. Single-section Binding, pages 82-84

embroidery needle to pierce

the marked holes in each
section. Thread a needle
with waxed linen thread— in
this instance a length of
2 Stack the sections on top of each other on a 30in. (75cm).
flat surface. Place a weight on top of the pile
of sections and leave for three to four hours
to form a tight fold in each section.
BOOKBINDING

8 Place the second tape in position and pull the 11 Pull the needle through hole D to the outside
thread taut as you enter hole D. and position the tape.

6 Take a single section and begin sewing by

passing the needle through hole B from the
inside. Exit hole B and enter hole A from
the outside. Place the tape in position between
the two holes as you pull the thread taut,
to hold the tape in place.

9 Pull the thread through hole C for a 12 Enter hole C again and pull the needle
second time. through, pulling the thread taut.
\

7 Tie a double knot over hole B on the inside to

secure the thread. Push the needle through hole
C and exit to the outside of the section.

::
jtm,

10 Place the next section on top of the first 13 Pull the needle through hole B to the outside.
and push the needle through hole C of this Exit the section and loop the thread around the
new section. tape. Enter hole A to the inside of the section
and exit through hole B.
 MULTISECTION BINDING

ADDING COVERS

The completed book can be pasted into a hard

cover, following the steps on pages 78-79, or
they can form part of the decorative appeal of
a soft-cover book.

14 Add the third section by entering hole B of 15 When all the sections are in place, tie a
the new section. Follow the same pattern to double knot flush with the center hole. Trim
continue adding sections. the ends of the knot to 'Ain. (1.3cm).

1 Cut covers for the front and back of the book,

and apply PVA glue to the tapes at the front of
the book.

2 Position the front cover beneath the tapes and

press the tapes down. Repeat for the back cover.

The binding is strong and

durable, and the pages will
lie flat when opened.
 81 BOOKBINDING

STAB BINDING BINDING PATTERNS

The visible, decorative sewing along the
spine gives this binding its characteristic
STAB BINDING, WHICH IS OFTEN appearance. Many different binding patterns
REFERRED TO AS JAPANESE BINDING, exist, including the tortoiseshell and hemp
IS TRADITIONALLY PAIRED WITH TWO
leaf, each with its own unique story and rich
heritage. The basic five-hole Japanese
SEPARATE COVERS AND SINGLE INNER
binding described here works well on books
PAGES. HARD COVERS CAN BE MADE
of all sizes.
WITH A PASTED HINGE, OR SOFT

COVERS WITH A SCORED HINGE.

3 Thread a bookbinder's or embroidery needle
with waxed thread, raffia, or ribbon. Here we
FIVE-HOLE STAB BINDING are using a thin strand of raffia. Begin sewing by
SEE ALSO Since the binding and knotting are all external, entering hole A from the back of the book and
pulling through until a tail of 2in. (5cm) remains.
it is a good idea to start with extra thread to
The Parts of the Book, page 79
avoid having to tie on a second piece midway
Preparing the Book Block, pages 78-79
through the stitch pattern. Five-hole binding
Soft and Hard Covers, pages 80-81
usually requires thread five times the height
of the book.

4 Loop the thread around the head of the book

and enter hole A from the back. Loop the thread
around the spine of the book and enter A for a

1 Create a template by trimming a piece of scrap third time. Pull taut.

paper to the length of the book's spine. Mark

five holes 'Ain. (1.3cm) from the long edge of the
spine, with a center hole and two holes on either
side. Mark arrows on the template to indicate
which is the spine edge.

2 Align and stack single sheets of paper to

prepare the book block. Here we are using
handmade papers that form the pages and the
cover. If you are adding a soft cover of heavier
card, score a line on the card, 'Ain. (1.3cm) from
/
the long edge of the spine. Clip the template to
5 the stack of papers. Place the clipped stack on Enter hole B from the front and pull the thread
a protective surface and pierce the holes using through to the back. Loop the thread around the
an awl and hammer. spine of the book and enter hole B for a second
time. Pull taut.
 STAB BINDING

69 Enter hole C from the back and pull the thread Enter hole E at the tail of the book from the 12 Tie a double knot to secure the stitching.
through to the front. back. Loop the raffia around the tail of the book
and enter E again. Loop the raffia around the
spine of the book and push through hole E for
a third time.

7
10 Loop the raffia around the spine of the book The next steps involve sewing back up to the
and again enter hole C and pull taut. head of the book, filling in the spaces left on the
first pass. All sewing is now done from hole to
hole, with no looping around the spine. Enter
hole D from the front and pull to the back.

THE COMPLETED FIVE-HOLE

STAB BINDING

The stitch pattern holds the

J book in a strong bind, with
11
8 Enter hole D from the front and pull the thread Enter hole C from the back and pull through.
a single length of thread
to the back. Loop the thread around the spine Enter hole B from the front and pull to the back. achieving rigidity in the spine.
and enter hole D again, pulling the thread taut.
BOOKBINDING

PROJECT The concertina is made by repeated

counterfotding of a sheet of paper, however

CONCERTINA you are not restricted to a single sheet, since

a number of sections can be glued together,
' WHAT YOU WILL NEED
• Paper: one sheet 334 x 18%in. (9.5 x 47.5cm)
allowing you to increase the size of the book and one sheet 334 x 19Vxin . (9.5 x 49cm), both
BOOK or add different papers.
with grain parattel to the short edge
• Pencil
• Metal ruler
THE FOLDS OF THIS FUN CONCERTINA • Bone folder
BOOKALLOWTHE FINISHED OBJECT FOLD LINES FOR THE CONCERTINA
• PVA glue
The dotted lines indicate the marks on the underside • Paste brush
TO BE HELD IN THE HAND AND READ
of the sheet, while the solid lines show marks to be
• Weight
LIKE A BOOK, BUT WHEN OPENED made on the top side.
• Craft knife
FULLY, THE SINGLE SHEET MAY BE • Cutting mat
SEVERAL FEET LONG. • Book cloth or cover paper: two pieces 6 x 6in.
(15 x 15cm)
• Pasteboard: two sheets 4 x 4in. (10 x 10cm)
• Scrap paper
SEE ALSO

The Parts of the Book, page 79

I / . m
Preparing the Book Btock, page 78-79
Soft and Hard Covers, pages 80-81

1 Take the shorter sheet of paper and use a

pencil to mark the top and bottom of the sheet
at intervals of 7y2in. (19cm). Turn the sheet over
and mark the back at the same intervals, but
starting 33Ain. (9.5cm) in from the edge, so that
CONCERTINA BOOK the marks are positioned in between the marks
The concertina book on the other side. Repeat on the longer sheet of
has two distinct sides: paper. You will be left with an extra portion of
the front, which is 'Ain. (1.3cm) at the end of the second sheet,
usually presented to the which will become the flap used to join the
reader, and the back, two sheets together.
which is often, although
not always, left blank.
 PROJECT: CONCERTINA BOOK

264 Use a bone folder along a metal ruler to lightly Lightly glue the inside of the short flap on the Tuck in the corners then fold over the
score between the points marked on the front longer strip and join the two strips together so remaining two sides. Repeat Steps 5 and 6 for
of the first sheet, then turn it over to score that the flap is behind the end of the shorter the second cover board, and dry both covers
between the marks on the other side. Repeat strip, and a mountain fold in the shorter strip under a weight.
with the second sheet. This will ensure the follows the join. Dry the joint under a weight,
paper folds easily and cleanly. then use a craft knife to trim any paper
protruding at the top or bottom of the join.

7 Fold the concertina book block and place a

sheet of scrap paper under the top sheet. Apply
glue to this top sheet, lightly but thoroughly.

53 Start with the shorter strip and fold the first Starting from the center and working out,
crease backward, the next forward, and so on use a paste brush to apply PVA glue to the
until all creases are folded. Repeat with the book cloth or cover paper, then place a sheet
second strip of paper. Your score marks should of pasteboard at the center. Cut off the four
end up on the inside each fold. corners of the book cloth or cover paper and
use a metal ruler to help fold the two opposite
sides onto the pasteboard.

8 Pick up the glued end sheet of the concertina

with both hands and lightly position it on the
reverse of one of the hard covers. When you are
sure it is central, firmly press in place. Repeat
Steps 7 and 8 for the back cover.
 QUILLING TOOLS DRAGONFLY g
Quilling shapes can CECELIA
Reminiscent
LOUIE
of the
* f ®
be rolled by hand, or
using a split or needle translucency of an actual
quilling tool. dragonfly's wings; the vellum
used as the background to
the quilling allows light to
pass through the wings and
illuminate the motifs. The
illumination is especially
unusual when viewed
EQUIPMENT CHECKLIST through a window.
Here's what you will need to start
quilling.
• Quilling
tool UNIT 5
• Cocktail sticks

• PVA glue
• Circle template
• Reverse-action tweezers
• Work board

• Cork or foam board, or

corrugated cardboard with
plastic wrap orwax paper
• Pins
• Pencil

ONEOFANUMBEROF BASIC SHAPES, INCLUDING COILS, SCROLLS, AND

TEARDROPS-SOME OF WHICH ARE SQUASHED AND CREASED-AND APPLYING

THEM TO A BACKGROUND TO CREATE ABSTRACT OR FIGURATIVE DESIGNS.

HAVAS ANNUAL REPORT

YULIA BRODSKAYA
PHOTOGRAPHED BY
JOHN ROSS

This intricate quilling

design was developed for
Havas Media, a leading
global advertising and
communications services
group. This is one of four
artworks commissioned
for their annual report.
The artworks were
eventually used as posters
and the report itself was
printed on the back sides
of the posters.
 «

The rolling is done either between the finger and thumb, PAPERS
or by using a special tool. Papers of different widths may Quilling paper strips are not only available in numerous
be used, and different basic shapes require strips of shades and varying widths, but also in varying color
varying lengths. treatments, including gradations, metallics, pearl, and
two-tone. The most widely used width of strip, Vein. (3mm),
BRIEF HISTORY is also the best choice for the first-time quiller. Cutting
It is believed that this papercraft may have originated in your own paper is also a fun and feasible way to add to
ancient Egypt, but the first clear reference to the art is in your stash of strips, although this can be time-consuming
fifteenth-century England, where it was used by poor and it is difficult to ensure exact widths.
ecclesiastical organizations to provide backgrounds for
religious sculptures, in imitation of the gold and silver EQUIPMENT
filigree used by wealthier institutions. The art was revived Quilling is made all the easier by the use of a quilling tool.
in the seventeenth century by ladies of leisure, who used it There are two main types of tool, one has a split end, into
to decorate workboxes, screens, and cabinets. It has gone which the end of the paper strip is trapped before it is
out of style and been revived several times since, and like rolled, while the other has a needle end around which you
many papercrafts, it is currently enjoying a revival. coil the paper strip.
The origin of the name "quilling" is unclear. It could A circle template is another useful accessory that allows
come from the quill pen, into whose split end a paper you to create evenly sized coils, while reverse-action
strip was inserted before being rolled, or from the tweezers are invaluable for placing elements that are too
porcupine quill, used as a needle by North American small for fingers to reach, and can be used to hold pieces
Indians when decorating moccasins with animal hair in in place while you position other elements.
a filigree manner. A good paper or craft glue, such as PVA, can be applied
with a cocktail stick to the coiled shapes to keep them
together, and the same glue is used to stick quilled motifs
to their background.

DECORATIVE DESIGNS
SCENT
YULIA BRODSKAYA The core shapes
Yulia used card and (demonstrated over
heavy paper for the the page! can be
quilling in this design, incorporated into
and she didn’t use any numerous projects, as
specialist tools— just shown in these flower
some cocktail straws and butterfly designs.
and sticks. Using tools
and materials in this
free manner allowed
her to "draw” with the
paper, creating a very
free image that
conjures alt types
of smells and scent.
9* QUILLING

QUILLING PAPER STRIPS

The size of the shape you quill will depend on
COILS

The coil forms the basis of many quilled shapes.

the length of paper strip and the size of the
SHAPES quilling tool. It is a good idea to practice
making basic coils and other shapes using
varying lengths of paper and recording the
THE QUILLING ARTIST HAS A BASIC results, perhaps by sticking the shapes to a
PALETTE OF SHAPES TO BEGIN board to form a kind of sampler.
WORKING WITH, AND CAN USE Tearing rather than cutting your paper strip
to the right length produces a more subtle join
KNOWLEDGE OF THESE TO CREATE
on coils, since scissors create a sharp edge
MANY MORE MOTIFS.
that will show when a coil is glued closed.
1 When using a slotted quilling tool, insert the
end of the paper strip into the slit, lining up
the edge with the tip of the tool to leave the
smallest crimp possible. Turn the tool,
keeping your finger against the paper to
prevent unwinding.
Crescent Teardrop Eccentric
teardrop

Loose scroti C-scrolt S-scrolt Asymmetric S-scrott

2 When using a needle tool, line up the end of

the paper strip with the tip of the needle. Gently
press the needle length against your finger, and
using your thumb to rub against your index
Marquise Shaped Shaped teardrop Heart finger, roll the paper strip into a coil, leaving
marquise no crimp in the center.

V-scrotl Asymmetric Asymmetric Heart scroll

V-scroll heart scroll

QUILLING ARTIST'S PALETTE

The quilling artist has a palette of 20 basic shapes to work with plus any other
3 Whether using a slotted or needle tool, keep
shapes that she may invent herself. More core shapes are formed by adapting
the techniques used to make coils and scrolls. the coil even using your index finger on top of
the tool.
 QUILLING SHAPES

MORE SHAPES

Other shapes can be made by manipulating

a basic coil.

4 To create a tight coil, use a cocktail stick to

dab a little PVA glue on the end to seal the coil
before removing it from the tool.

4 1 To shape a teardrop, pinch one end sharply so To create a loose scroll, lightly straighten a
the crease goes through each ring. coil by drawing the tool along two-thirds of its
length. Re-coil again with your fingers.

5 The coil can be allowed to loosen on the work

surface to the desired size before gluing as
above. To make loose coils of the same size,
release the coil into a circle template and

5 glue within its circumference. Fold the strip in half and curl the ends in the
2 To shape an eye or marquise, pinch both ends
at the same time, leaving no crimp in the center. same direction to make a double scroll, or in the
opposite direction to make a V-scroll.

6 6 To make an eccentric coil, use a pin to push all 3 Push your thumbs in opposing directions to To make an S-scroll curl both ends of a strip
the coils to one end and to secure the coil to a make a shaped marquise. in opposite directions.
cork or foam work board. Dab glue across all
the strips and release when dry. The glue will
be visible, so remember to turn this element
over when arranging it into your design.
 QUILLING QUILLED FLOWERS

Making these flowers and leaves will give you an

idea of how you can use and combine the basic
APPLICATIONS quilling shapes to create a larger overall design.

WHEN PUT TOGETHER THE

BASIC QUILLING SHAPES CAN BE

INCORPORATED INTO ALL MANNER

OF DESIGNS, AND APPLIED TO A

WIDE RANGE OF SURFACES.

1 Make a loose coil for a flower center. Lightly 4 Match the glued fold to one of the markings on
mark the coil with five equally spaced lines that the flower center. Continue gluing and matching
the petals will be positioned by. each fold up to each line on the flower center.

2 To form the flower petals, mark a strip in four 5 Finish by gluing both ends at the same time
places along its length at equal intervals. The This may be easier done by holding the ends
length of strip you use will determine how large with a pair of tweezers.
your petals will be. Scrape the paper between
your finger and a quilling tool, as you would with
curling ribbon for gifts.

HEART
CECELIA LOUIE

A love for spring flowers is

barely contained within the
heart-shaped border, which
3 was first pinned to a cork board Fold along all the markings and use a cocktail 6 Use a cocktail stick to press each petal's
to create a non-shifting corral. stick to dab a little PVA glue on the first fold. fold firmly to the flower center to ensure it
is glued securely.
 QUILLING APPLICATIONS

COMBINING THE ELEMENTS GLUING TO THE BACKGROUND

When you have made up the various elements,

bring them together to form the completed
design. You can do this by eye on your quilling
board, trying different arrangements before
gluing, or you can use a template— one of your
own making, or from a book or the internet.

7 Continue making more flowers as desired.

While the glue is still wet. place the flowers on
a flat surface and intermittently press gently to 1 Pour a little PVA glue onto a piece of scrap
keep all quilled items even. paper and smear across the paper to a width
that matches that of your completed quilled
design. Hold the design with tweezers and dip
it into the shallow bath of glue. Lift and look
for missed areas, and dip into the glue again
if necessary.

1 Place the template on a cork, foam, or

cardboard work board, and cover with plastic
wrap or wax paper. Place the elements in
position over the template. You can use pins
to keep them in place.

8 To make the leaves, make loose, V-scrolls,

and S-scrolls (see page 94). Allow one coil of a
V-scroll to extend past the other, and one end of
the S-scroll to be larger than the other.
2 Place the design on the background, and
gently press with fingertips to firmly attach
all items.

2 Put a little glue on the end of a cocktail stick

and carefully slip it between two touching VARIATION

elements. Repeat with all touching elements. Six teardrop shapes,

with spirals facing in the
same direction, make up
the petals for this flower.
CLEAN FOLDS A marquise makes the
leaf, while the sprig is
To make folds without marking the paper, line formed by applying a
up the end of a strip to the desired length on loose scroll to one-third
the ruler, letting the excess overhang the "0"
side of the ruler. Press down on that "0" edge,
of a strip, and scraping
leaving a score line that can be followed up the remaining two-thirds
9 Experiment with arrangements of the flower with a sharp fold that won't mark the strip. to make the stem.
and leaf elements on a work board, using pins
as necessary to prevent them from moving.
QUILLING

PROJECT Make sure the final surface is porous so

the glue will adhere securely. This paper- WHAT YOU WILL NEED

covered keepsake box will allow for proper • Quilling strips for the wing outline, all ’/sin.
BUTTERFLY bonding despite the shallow texture. A plastic |3mm) wide:
- 2 deep red strips, each 5%in. (14cm] long
or coated box would not be suitable since
• Quilling strips for the upper wing fillers, all '/sin.
KEEPSAKE the glue would be unable to penetrate
the surface.
(3mm) wide:
- 2 pink strips, each 4in. |10cm] long
- 2 orange strips, each 4in. (10cm) long
BOX - 2 light green strips, each I'/jin. (4cm) long
• Quilling strips for the lower wing fillers, all Vein.
(3mm) wide:
- 2 lilac strips, each 2%in. (7cm) long
THE FINE, DELICATE NATURE OF
- 2 light green strips, each 23Ain. (7cm) long
QUILLING BELIES THE FACT THAT THIS
• Quilling strips for the head and antennae,
DECORATION IS IN FACT SURPRISINGLY all '/sin. |3mm] wide:
- 1 deep red strip, I'Ain. (3cm) long
STRONG, AND AS SUCH YOU CAN USE
- 1 lilac strip, 2in. (5cm) tong
QUILLING MOTIFS TO PERSONALIZE • Pencil

A VARIETY OF OBJECTS, INCLUDING A • Cocktail sticks

• PVA glue
PLAIN BOX, A TENT CARD, OR A BOOK.
• Reverse-action tweezers
• Pins

• Quilling tool

BUTTERFLY KEEPSAKE BOX

A personalized box makes a

wonderful gift, and decorating an
object in this way allows the artist to
express themselves in a practical and
beautiful way. The finished piece can
be further protected with several
coats of clear varnish.

SEE ALSO

Quilling Shapes, pages 94-95

Quilling Applications, pages 96-97
 PROJECT: BUTTERFLY KEEPSAKE BOX

TEMPLATE

This butterfly template may be

scaled up or down to suit any
project, and for this box is used at
100%. The template can be used
as a visual guide to refer to
occasionally as you form the
butterfly, or you can place it on
your work board and under some
plastic wrap in order to work
directly over it (see Combining
the Elements, page 97).
QUILLING

1 Start by forming the wing outline using two 3 Dab a small dot of glue on the bottom half of 5 Fold an orange strip at 134in. (4cm) and quill
deep red strips, each 53/4in . (14cm) long. From one wing outline and fix the two wings together. into an asymmetric double scroll. Repeat for the
one end, fold at 134in. (4cm). Use a pencil and opposite wing.
lightly mark 3in. (8cm). Gently curl the ribbon
strip like you would with curling ribbon.

2 Use PVA glue applied with a cocktail stick to 4 Fold each of the two pink strips at 2’/2in. (6cm). 6 Quill a light green strip into a loose coil. Place
glue both ends of one wing perpendicular to the Use a quilling tool to gently curl each strip into in the tip of the upper wing. Repeat for the
pencil mark to create the outline. Use tweezers an asymmetric heart scroll. Glue the fold of one opposite wing.
to press the ends against the body, which can heart scroll to the middle of the wing, and
be held in place with either your finger or pins. repeat on other side.
Repeat with the second strip.
7 Fold a lilac strip at
PROJECT: BUTTERFLY KEEPSAKE BOX

3Ain. (2cm| and 2in.

(5cm). Gently curl the
strip. Dab glue at the
corner of the bottom
10 Ensure all touching areas are secured
wing and. working with glue to prevent movement, then glue the
with one end at a butterfly to the box, following the instructions
time, glue the loops on page 97. Add flowers of varying sizes with
in place, adhering the leaves and greenery as desired.
folds into the corner
last. Use pins to
prevent shifting.

98 Fold a light green strip at 13Ain. (4cm) and For the head, gently curl the 1'A-in. |3-cm)
quill into an asymmetric double scroll. Glue in long deep red strip in the middle until the ends
place next to the lilac loops. Repeat on the touch. Dab a small amount of glue on the ends to
opposite lower wing. secure them. Slip this teardrop shape between
the two upper wings. Fold the 2-in. (5-cm) long
lilac strip in half and curl into a loose V-scroll. THE COMPLETED
Adhere the fold to the center of the teardrop. BUTTERFLY
 HANDMADE PAPERS

Papers made from recycled

paper pulp or plant pulps
usually have a textured
quality that adds another
dimension to woven art
forms. See pages 142-151
if you would like to try
making your own.

UNIT 6
EQUIPMENT CHECKLIST

Weaving really lets the paper do

the talking, but you will likely also
make use of the following items:
• Pencil
• Craft knife

• Cutting mat
• Metal ruler

• PVA glue
• Masking tape
• Clear adhesive tape WEAVING WITH PAPER IS A TRULY VERSATILE CRAFT, NOT LEAST

BECAUSE A VARIETY OF PAPERS CAN BE EFFECTIVELY WOVEN, AND

THE PATTERN PERMUTATIONS ARE VAST. INTERWEAVING PAPER

ALLOWS YOU TO CREATE SOME STRIKING DESIGNS, YET IT IS ONE

OF THE SIMPLEST ART FORMS.

PASSION SURFACE PLAY

ELLEN JACKSON ELLEN JACKSON
The plain weave Weaving can make use
technique can be used of a huge variety of
to create myriad effects papers, including plain
by using various or patterned handmade
papers. Here a mix varieties, shredded
of cut handmade, recycled papers, and
shredded recycled, decorative giftwrap
and commercial papers embellishments. Ellen ,
is used, with the strips Jackson has chosen
taking on various papers that have a
widths and shapes common color theme
to give great vibrancy although she makes
and variety. use of mixed patterns.
 no inas s '
man dine non feet
lot Br n EXPERIMENT WITH PAPER

Many interesting weaves

nan: tmai itlfC teft can be created using the
owl ;Md turn ultr, innate qualities of paper.
You can mix up different
tide ieo. " colors and textures for
eye-catching results.
uln anfi 'fuj )iUoj
’.ode etui nm

BRIEF HISTORY METHODS

Paper weaving is as old as paper. In China and, particularly The most basic method is to weave a warp (vertical strip)
later, in Japan, very narrow paper strips were woven to of one color and a weft (horizontal strip) of another in a
make bags, mats, and even clothes of great durability. In "one under, one over” pattern, to produce a checkerboard
the 1960s several major textile manufacturers wove paper effect. The number of “unders and overs" can go through
in a search for new, nonsynthetic fibers. For a short time many mathematical permutations to create woven
paper fabric was available commercially, but never patterns of great intricacy.
became popular. Traditional paper weaves used paper that was twisted
before being woven, but paper can also be woven flat, as
PAPERS strips. The strips need not be of equal width or be straight-
All sorts of papers can be used for weaving, depending on edged. For example, identically sized but differently
the visual or textural effect you want to achieve. When you colored squares of paper can each be cut randomly into
are starting out, practice using medium weights, but as strips, then woven together in strict order to create a tipsy
you become confident you will want to experiment with checkerboard effect.
the wonderful color of tissue and wrapping papers and Parallel-edged strips need not be woven flat. At
the texture and three-dimensional possibilities of intervals, the strip may loop out of the weave before being
handmade papers. You can also recycle anything from tucked in again, rather like a piece of knitted yarn caught
glossy magazine pages and candy wrappers to old letters, on a nail. Arranged in patterns and at set heights, this can
maps, and manuscripts. create beautiful relief patterns.

PINK/BLACK
ELLEN
ROYALE
JACKSON
t H i S * NEWSPAPER
ANNE WILLITTS
VASE

Anne has designed a

In a variation on the
three-dimensional three-dimensional
vessel woven from
weave, strips of
strips of tightly folded
patterned handmade
and machine-stitched
paper are woven in
sheets of newspaper.
and out of slits cut
The edge is finished
into a single sheet of
with fragments of old
handmade paper, and
clay tobacco pipes
arranged to stand
gathered from the river
proud of the surface.
i fc * ® i Thames foreshore in
London.
WEAVING

WEAVING DESIGN OPTIONS Paper may also be woven three-

ciimensionally, where parallel-edged strips
The "one under, one over" pattern is the

DESIGNS easiest of all weaves, but this^does not mean

it has to be boring. For example, the warp
can be creased to stand upright, forming
ledges that catch the light.
and weft strips need not be the same width,
IT IS POSSIBLE TO ACHIEVE A WEALTH and they can both be varied to create an
OF INTERESTING EFFECTS BY WEAVING undulating color effect across the surface of
TOGETHER FLAT STRIPS OF PAPER.
the weaving. Alternatively, this form of regular
pattern can be varied to create a multitude of
designs, since a strip can be placed in front SEE ALSO

of or behind any number of crossing strips. Creasing and Cutting, pages 12-13
On the reverse side, the pattern is the same,
but the colors are reversed.

PLAIN WEAVE

The "one under, one over" pattern repeats

every two rows and appears staggered, like
brickwork. You can vary the width of the warp
and weft strips, or use paper with a deckle edge
for a soft effect.

2 Starting at the top, weave the first weft strip 4 To keep the weave straight and tight, make
over the first warp strip, under the second, over sure you push each'weft tight up to the previous
the third, and so on to the last warp. one. You may like to glue the strips in place, by
putting a dab of PVA glue where it can't be seen
at each end.

1 The warp (vertical) strips can be made from

a sheet of paper that is kept intact at the top.
Make a number of vertical cuts at regular
intervals across the sheet, each one starting
about ’Ain. (1.3cm) down from the top of the
sheet. Cut your weft strips out of a completely
different sheet of paper.

3 Weave the second weft strip under the first 5 If necessary, trim the edges to neaten.
warp strip, over the second, under the third, and
so on. Repeat Steps 2 and 3 with the remaining
weft strips.
 WEAVING DESIGNS

TEARING STRIPS IRREGULAR WEAVE

If you are looking for a less rigid, more uneven Irregular weaves are mathematical variations
effect, you may want to try tearing your paper of the plain weave, and the permutations are
strips instead of cutting with a craft knife. It endless. Some well-known ones are the zigzag,
is difficult to tear the warp threads and keep the patchwork, and the shadow blocks weave.
the top portion of the paper sheet intact, so a
slightly different approach needs to be taken.

4 Now weave the fourth weft over one warp,

under one, over one, and so on.

1 Cut your pieces as for plain weave. Weave the

first weft by passing over the first two warps,
then under the next two and over the next two.
1 Tissue paper is easy to tear, and weaving it
increases its strength. Decide on the width of
strips you would like to use, then fold the edge
of the paper over a metal ruler and tear down.
Repeat until you have all the strips you need.
5 Continue following the same sequence from
Step 1, until the weave is complete. Glue and
trim if required— as with the plain weave.

2 Weave the second weft under one warp,

over one, under one, and so on.

2 Arrange the warp strips together on the work

surface, then weave the weft strips through to
your chosen pattern. Push up the weft strips
with a craft knife where necessary to keep the
weaving tight. Once finished, secure the ends
of the warp and weft threads with clear tape. ENDLESS VARIATIONS
It is clear to see that the choice of
variations on an irregular pattern could go
3 Continue following the same sequence from
on forever. With an artist's eye and skill,
Step 1, until the weave is complete. Glue and woven paper becomes a work of art.
trim if required as with plain weave.
WEAVING

TUMBLING BLOCK WEAVE

This flat weave pattern gives the effect of three

dimensions. Follow this pattern to create an
effective tumbling blocks motif, then use your
experience to recreate your own ideas.
The orange warp is 6V2X 4 ’Ain. (16.5 x 11.5cm)
wide, with six vertical strips, %in. (2cm). Six
yellow weft strips are 6in. (15cm) long and %in.
(2cm) wide. From the right, weave the wefts for
the first row over one warp, under one, then
over two, then under one and over one to finish.
For row two, begin over two warps, under one,
1 Make eight red strips V2x 6in. (1.3 x 15cm).
then over two again, and under one. For the
Fold one end of each strip to a point to make it
third row, start under one, then over two, under
easier to weave. 3 Turn the weave over and weave the second
one, and finally over two. Repeat rows one to
red strip under the third warp from the right
three to form rows four to six.
to emerge between the second warp and the
third weft.

WOVEN PATTERN
PAUL JACKSON

Patterned papers or images can be

interwoven to give a whole new dimension
to this papercraft. Striking or humorous
effects can be achieved by interweaving two
identical photographs, one slightly offset
from the other, or two geometric patterns,
two words, two old letters, two maps, and
so on. The process may sometimes be a
little painstaking, but the results are
frequently very beautiful. To achieve this 2 Beginning at the top left corner, weave a red
complex image, two reproductions of the strip over the first warp and under the second
same op art image were woven together, weft, holding the main weave as you do so. 4 Continue weaving strips from the top to form
but with one slightly offset from the other.
a gradually evolving pattern of blocks. Keep
turning your work over to pull ends through.

5 Glue and trim the edges as for plain weave

to complete the three-dimensional effect.

I
 WEAVING DESIGNS

THREE-DIMENSIONAL WEAVE
With this pattern folds made in the warp and
weft strips project from the surface of the flat
weave and create a three-dimensional effect
that works well on wall-hangings. Hang the
piece opposite a natural light source and the
projections will cast interesting shadows that
change as the sun moves across the sky.

3 Weave the end of the weft strip under the next

warp along, leaving the folded area projecting
from the surface of the weave.

6 Check that all the projections are standing up

before gluing and trimming the loose ends as
for basic weave.

1 Cut the desired amount of warp and weft

strips, and begin work as for basic weave.
When you reach a point where you would like
a projection to be. fold the strip back over the
preceding warp and crease.
4 Repeat the folding technique described in Step
2 on a warp strip to make a warp projection.

2 Curl the loose end of the weft back on itself,

creating a fold that touches the opposite edge DOODLE WEAVE
PAUL JACKSON
of the adjacent warp strip, then fold it back the
opposite way, to give two valley folds and one Once you have mastered the basics of paper
5 Continue making projections in your
weaving you can play with the principles to design
mountain that form a raised triangle. preferred pattern. more creative artworks. For this doodle weave
two identical squares were sliced into irregularly
shaped strips, one vertically the other horizontally,
then woven together using the "one over, one
under" technique.
JU WEAVING

PROJECT

WOVEN
PAPER BOWL WHAT YOU WILL NEED

• Tabiecover paper
• 3 paper napkins, 1 plain and 2 with
THIS WOVEN PAPER BOWL LOOKS different patterns
• Craft knife
ESPECIALLY EFFECTIVE WHEN MADE
• Cutting mat
TO MATCH THE PAPER NAPKINS OF • Metal ruler
The bowl in this project is made using three • Wallpaper paste
THE TABLE SETTING. IN THIS WAY
paper napkins from three different 3-ply • PVA glue
ANY BOWL CAN BE CUSTOMIZED
napkin sets, 13 x 13in. (33 x 33cm), but a great • Paste brush
TO SUIT ANY EVENT, INCLUDING deal of variety can be woven using just two • Glue stick

BIRTHDAYS AND ANNIVERSARIES. different colors or patterns, or combining • Thumbtacks

tissue paper or other malleable papers. This • Cork board

• Iron
bowl is plain on the outside and patterned on
the inside, however, you can choose to reverse • Shallow bowl for molding
• Plastic wrap
this method of work, or use pattern on both
• Acrylic varnish and paintbrush (optional)
sides, or intersperse pattern and plain on the
inside and out. Miss out the molding stage
and the same technique can be used to
make tablemats.

BOWL SELECTION
ANNE WILLITTS

When choosing the napkins

to weave with, consider
how the colors and patterns
will work together and
complement each other.
The act of weaving creates
a whole new pattern.
 PROJECT: WOVEN PAPER BOWL

1 Cut two squares of tablecover paper using one 3 Paste one patterned layer of napkin onto one 4 Turn over and paste a plain napkin layer on the
napkin as a template. tablecover square. other side of the square. Repeat the process
with the other patterned napkin, pasting a plain
layer on the back as before. Leave to dry. Use a
glue stick to glue down any unstuck edges.

2 Peel off the top patterned layer from each of the two patterned napkins, and separate
the three layers of the plain napkin. Mix wallpaper paste with water and add a couple of
tablespoons of PVA glue. The paste should be of a spreadable, creamy consistency, and
not too thick.
 WEAVING

75 Gently flip alternate strips to the top of the 9 Lift the warp strips down to stick over the weft
Use a craft knife and metal ruler to cut each
layered square into 12 strips of 1in. (2.5cm) board and place a dab of glue from the glue and flip the next set of warp strips back to the
wide, and two strips of V-un. (1.3cm) wide, giving stick on each warp strip left on the board top of the board.
24 wide strips and four narrow strips in all, and where the crossways weft strip will go.
making full use of the napkin size.

86 For the warp, choose 12 wide and two narrow Carefully place the first weft strip, plain 10 Repeat Step 8 to lay and stick the second
strips. Using thumbtacks, pin each strip at its side down, over the warp strips close to the weft/strip. Continue weaving and sticking down,
very top edge to a cork board, so that the strips thumbtacks, and stick down. Add a touch of glue making sure the warp and weft strips lie neatly
hang down side by side. Alternate or intersperse on the weft strip where each warp strip will be together until they form a square. As with the
the two types of pattern, and include the brought down to form the weave. warp, alternate or interperse the two types of
narrower strips as desired to give some variety. pattern, and include the narrower strips as
Keep the plain sides face down on the board. desired for variety. There may be one ortwo
unused strips. Leave to dry. Trim the edges
and iron flat.
 PROJECT: WOVEN PAPER BOWL

11 Prepare a mix of wallpaper paste and PVA 13 Cut off the excess paper at the top, rounding | 14 When dry, remove the paper bowl from
glue as in Step 1 and use a soft, wide brush the edge, but leaving about 3Ain. (2cm) of paper the mold. Glue the 3Ain. (2cm) of paper edging
to apply the paste all over the patterned side above the bowl edge. onto the outside of the woven paper shape, to
of the woven square. Line a shallow bowl with reinforce and neaten the top. Alternatively, trim
plastic wrap. off the extra paper all round the top to leave a
smooth, cut edge.

12 Carefully lay the woven piece, paste side up,

in the bowl and gently press and brush it against
the sides, applying more paste as needed. The
paper will gradually soften and can be eased WOVEN PAPER BOWL
into the shape of the bowl. Take care not to tear Applying acrylic varnish
the damp strips at this stage. Use your fingers to the bowl will make
to smooth down creases at the edge. it sturdier, and the
bowl can be further
decorated by sticking
on buttons or toning
ribbon, if desired.
EQUIPMENT CHECKLIST

A good craft knife with

replaceable, sharp blades is
the essential paper-cutting tool.
You may also need some of the
following:
• Pencil
• Craft knife

• Cutting mat
• Metal ruler
• Sharp scissors [embroidery
scissors are a good choice]
• PVA glue (some makes of PVA
glue are sold in a bottle with a
nozzle that allows the glue to
be dispensed easily to intricate
shapes]
• Paintbrushes (PVAglue can also
be applied using paintbrushes)
PAPER CUTTING TECHNIQUES CAN BE USED TO CREATE FIGURATIVE OR ABSTRACT

SHAPES FOR DECORATIVE PURPOSES, AS WELL AS FOR MAKING MOBILES AND

COLLAGES. UNLIKE DECOUPAGE, WHERE ALREADY PRINTED MOTIFS ARE CUT OUT,

PAPER CUTS ARE DERIVED FROM SHEETS OF BLANK COLORED PAPER-OR OVERALL

PATTERNS-FOLLOWING DESIGNS BASED ON TRADITION OR EVOLVED BY THE PAPER

CUTTERS THEMSELVES.

BALLOON CITY
BEATRICE CORON

Beatrice Coron's series of "Personal Cities" began with

the idea of imagining a city that would contain all the
essential elements of a single person's life. Beatrice
asked friends to describe the kind of city they would like
to call home, then made a paper-cut image of each
person's wishes. Balloon City draws its inspiration
from the “floating world" [ukiyo], a prominent concept
in Edo-period Japan, and the notion of the “green
footprint." The floating world resonates with modern
life in its depiction of a pleasure-oriented society and
its analogy to mobility and global-village mentality.
The green footprint is about being light on the planet
and leaving no carbon footprint, and the artist here
imagines how we could leave the planet for gardens
and reorganize our communities off the ground.
HIDDEN SUMMER
LIZZIE THOMAS

Lizzie Thomas uses detailed cutting techniques to create

a pocket-sized paper season. Murano paper is cut into
tree motifs, with folded paper in between the cut pieces
used to build up a fan. all housed in a pop-up hinged
hardwood box. Lizzie was inspired by experiencing how
the Japanese celebrate the seasons, and chose to use
the delicate character of paper to represent the
transience of nature.

BRIEF HISTORY Today paper cutting is used extensively by graphic

Decorative paper cuts dating from AD 207 have been found artists and illustrators and appears in magazines and
in northern China, and it is thought that the Chinese were travel brochures, and on posters and shopping bags.
cutting paper long before that. Paper cutting is also a Keeping an eye on such work is a useful way to glean fresh
tradition in Japan. Mexico, Poland, Germany, Switzerland, ideas of your own.
the Netherlands, and in areas of Dutch influence in the
United States, such as Pennsylvania. PAPERS
Originally, paper cuts were connected with religious and All sorts of paper types can be used to great effect when it
ceremonial observances, but when paper became more comes to paper cutting. Fine art paper is a favorite since it
plentiful paper pictures were pasted on walls, furniture, cuts very cleanly, is of a good thickness, and is available in
and windows to brighten up the home. The cutters a great range of colors. Handmade papers can tearwhen
depicted familiar flowers and animals, and illustrated cut, but make excellent translucent and textured
stories and legends. backgrounds on which to mount more delicately cut
In the late nineteenth century the cutting of paper pieces. Recycled papers such as book pages or maps,
portraits became popular in Western countries, and origami papers, and translucent papers are just a few of
itinerant artists cut sometimes very humorous silhouettes the other possibilities.
of individuals and family groups. Silhouette cutting was a
popular home hobby, but declined with the development
of photography.

THE GOLDEN SEA, IT HAS TEETH THE BIRD THAT THINKS

PATRICK GANNON IT S A PLANE

BOVEY LEE
Japanese mythology barely
mentions the shark, so Patrick Handmade from mulberry tree
created his own “shark god." bark, the rice paper that Bovey
The temple on the jutting rock Lee cuts is tissue-thin, dense,
adds a sense of scale, but also and soft to the touch. It is
enhances the piece's religious backed with silk to add
and mythological atmosphere. resilience, and hand cut with
Patterned chiyogami paper forms a knife. Color is not added to
the major element, and the pattern the off-white rice paper, so light
adds a sense of cultural context. play and shadow are essential
Patrick cuts intricate designs with to the overall impact of the
a craft knife, and makes use of image. The theme of self¬
layering techniques to weave the perception is explored in this
various elements over and under cutout, which cleverly features
each other to create a sense a bird that casts a shadow of a
of depth. jumbo jet.
PAPER CUTTING

CUTTING DIFFERENT PAPERS

PAPER The technique for cutting with scissors is to
hold the paper in the air, grasp the scissors It is useful to understand how different papers
firmly with one hand and move the paper into heact to cutting.
CUTTING the blades with the other. In this way, smooth
curves result. Sharply angled corners are cut
TECHNIQUES with the tip of the scissors. The paper can be
a single sheet or may be folded to produce
symmetrical cutouts.
PAPER MAY BE CUT WITH SCISSORS OR If using a craft knife the blade must be
A CRAFT KNIFE, EACH TOOL PROVIDING sharp and the paper should rest on a resilient
SLIGHTLY DIFFERENT EFFECTS. THESE
surface, and several layers may be stacked to
cut multiples all at once.
TOOLS ARE USED WITH GREAT EFFECT

IN A NUMBER OF STYLES, FROM

DETAILED, INTRICATE WORK TO SUN CITY Fine art paper such as Murano cuts very cleanly
LAYERING EFFECTS AND SILHOUETTE.
BEATRICE CORON with a craft knife.
Part of the artist's "Personal Cities" series [see
page 112), Sun City was created for sun lovers.
Coron works with DuPont's Tyvek high-density
polyethylene fibers that though very strong are easy
to cut. She starts by sketching a rough design on the
white side of one sheet. She then adds two more
sheets underneath the first, holding them together
with adhesive tape (each sheet is cleaned and
refined individually, and numbered one to three from
top to bottom). Using a fine-point X-acto 11 blade,
she cuts through all three sheets, cutting details
and variations as she works.

Handmade papers can be more difficult to cut if

they are coarse grained. When using a craft
knife they cut well in one direction, but tend to
tear easily in the other direction, so are not
suitable for delicate cutting. However, they can
be cut into simple shapes, using scissors rather
than a craft knife, and work well when cutting
symmetrical shapes.

Recycled papers can be used to create unique

paper cuts. These can be very delicate, so take
extra care with a craft knife or sharp scissors.
 PAPER CUTTING TECHNIQUES

SYMMETRICAL CUTTING

Folding paper allows you to cut multiple,

identical shapes.

Origami paper can be fun to cut because the 2 Draw your design onto the surface. You will
patterns and colors instantly give the piece an need to include a feature at either end that will
exciting finish. These papers tend to be very join this piece to the next piece. In this example
thin, so again extra care must be taken: the the elephant's tusks and tail are the joining
sharper your blade, the better. Work from the features.
inside to the outside when cutting a piece to
minimize tear (see Detailed Shapes, page 116),
or use sharp embroidery scissors.

1 Fold a strip of paper over and then over again, j 3 Carefully cut around the shape. Sharp
Here the strip is 16in. (40cm) long and 2V2in. embroidery scissors are used to cut out
(6cm) high, so the final folded surface is 4in. this delicate handmade paper.
(10cm) long and 2'/2in. (6cm) high.

4 Carefully unfold your piece to create a chain of

Translucent papers such as vellum paper or symmetrical shapes. To create chains with more than
tracing paper can be more difficult to cut but four shapes, use a longer strip of paper and simply
make excellent backgrounds when creating increase the amount of times you fold it over.
shadow silhouettes. Use scissors.
 PAPER CUTTING

DETAILED SHAPES

Detailed shapes are most often cut with a craft

knife, using one of two approaches, either
working from the inside out, or working within
a contained shape from the outside in.

1 Depending on how confident you are, either

draw your shape with pencil first and use an
eraser to remove pencil marks at the end, or
cut freehand either from memory or working
from a drawing or photograph.

4 When working from the outside in, begin by cutting your outline. In this instance the outline
of the tree shape is cut in the shape of a wine glass.

2 Cut from the edge of your paper sheet to the

body of the shape to be cut, in this case the
trunk of the tree. Carefully cut around the
shape, following the drawn lines if using.

5 Work inward inside this contained shape, 6 Continue cutting shapes out, leaving a spine
cutting out diamond-like shapes using a craft in the center as the tree trunk.
knife. Consider the design of the tree and cut out
shapes of slightly differing sizes and positioned
at slightly different angles to give a natural
effect and the feel of movement.

3 Put pressure on the trunk with your finger

to hold it in place while you cut the branches,
working out from the trunk.
 PAPER CUTTING TECHNIQUES

LAYERING SHADOW SILHOUETTING

Layering techniques can yield varying results, The traditional silhouette paper cut can be
based on the techniques used. brought up to date with the use of an interesting
background paper.

3 For a different effect using a layering

technique, cut out an outside shape, such as the
outline of this Japanese-style fish, then work
inward to cut out the details, such as the scales.

1 To create a shadow silhouette, choose a

1 To create a scene such as a landscape or translucent paper, such as vellum paper or a
cityscape, choose several colors of paper handmade paper, as a background. Cut out the
to layer up. Cut out the fore-, mid-, and silhouette from a colored paper: the darker the
background pieces, remembering that elements color, the more striking the silhouette.
in the foreground will be larger than the
background images.

4 Draw around the outline of the fish onto a

patterned paper, in this case origami paper, and
cut this out using sharp embroidery scissors.

2 Mount the silhouette onto the background

using PVA glue. Use sparingly to avoid buckling.
2 Layer the paper cutouts on top of each other
to check the arrangement, then glue in place
using PVA glue.

5 Use PVA glue to stick the top paper-cut fish

onto the patterned paper.

THE COMPLETED
3 Shine a light behind the piece to reveal the

$
LAYERED CUT

The patterned paper full effect, or turn it around to create a shadow

is revealed through silhouette.
the cut details of the
top layer.
PAPER CUTTING

PROJECT
WHAT YOU WILL NEED

• 3 sheets of art paper of different colors,

PAPER-CUT here Murano paper has been used
• 1 sheet of translucent paper, such as a thin
handmade paper or vellum paper
WINDOW • Pencil
• Scissors

HANGING • Craft

• Cutting mat
knife

• Drawing compass
FOLLOWING THESE STEPS YOU CAN • Eraser

MAKE YOUR OWN PAPER-CUT SCENE ® PVAglue 1 Use a drawing compass to draw a circle with a
• Paintbrush radius of 4in. [10cm) on each of the three sheets
TO HANG IN A WINDOW. THIS PROJECT
• Needle and thread of art paper. Cut out using scissors.
WAS INSPIRED BY A GERMAN PAPER

CHRISTMAS DECORATION. THE

FINISHED PIECE SHOULD BE HUNG IN

A WINDOW THAT DOES NOT GET TOO

MUCH DIRECT SUNLIGHT TO AVOID

WARPING, OR ALTERNATIVELY CAN BE

SEE ALSO
MOUNTED IN A CLEAR FRAME AND
Paper Cutting Techniques, pages 114-117
POSITIONED ON AWINDOWSILL.

PAPER-CUT WINDOW
HANGING

This project could also be 2 To create the foreground, draw the landscape
made using just one or two
and tree outline on one of the circles. Use a
layered pieces of paper for a
compass to create d lip Vain. (1cm) from the edge
simpler effect, or try using
four pieces for a more of the circle by setting it to 35/8in. (9cm).
complex scene. The circle
radius can also be adapted
to create larger or smaller
hanging scenes.

3 Use a craft knife to cut around your pencil

lines. Erase any leftover pencil lines, then cut
shapes out of the tree as described in Detailed
Cutting, page 116.
 PROJECT: PAPER-CUT WINDOW HANGING

8 4 Repeat Steps 2 and 3 with the middle layer, 6 Draw around one of the circles onto the Accessorize with individual cut pieces, such as
this time drawing in a smaller house motif and translucent paper and cut out. the individually cut silhouette of a girl with a kite
making the lip width 'Ain. (1.3cm) in from the used here.
edge of the circle by setting the compass to
3'Ain. (8.7cm).

97 5 Repeat again with the background layer, this Glue the layers together, starting with the Either mount the piece in a clear frame, or
time making sure the solid tree motif is smaller translucent piece at the back and working your using a needle and thread, carefully create a
again, and that the lip width is Vain. (1.6cm) from way forward to build up the scene. To help keep loop through the top of the circles so you can
the edge of the circle by setting the compass to the piece flat as the glue dries, it can be useful hang the piece up in a window or on a light box.
33/ain. (8. 4cm). to sandwich it between some heavy books.
EQUIPMENT CHECKLIST

A minimal amount of equipment

is needed for basic collage
procedures; in most cases general
art and craft equipment is alt that
is required.
• Pencil

• Craft knife (optional)

• Cutting mat
• Metal ruler
• Scissors

• Glue (PVA glue or wallpaper

paste are most commonly used,
although you can also use glue
sticks or pens for delicate work)
• Paintbrushes

• Brayer (small roller)

COLLAGE IS AN EXCITING AND VERSATILE PAPERCRAFT THAT DOES NOT
• Watercolor paints (optional)
• Linseed oil and cloth (optional) REQUIRE MUCH IN THE WAY OF TECHNICAL SKILLS, JUST AN APPRECIATION

OF SHAPES, TEXTURES, AND COLORS.

KYLESKU, SUTHERLAND
ANN DAVIDSON
This collage has a three-dimensional
feel, since areas of it are not stuck
down entirely. The unstuck pieces
overlap and conceal some glued
areas, and cast shadows onto them
for added depth. The artist creates
her collage elements by letting paint
flow over wet paper and tearing
around the most appealing sections.
Collage lends itself well to evoking
austere landscapes, like that of
Kylesku, a hamlet in the Scottish
Highlands. Watercolor washes convey
the envelopment of mist and rain.
USEFUL TOOLS

The paper elements of your

collages can be cut with scissors
or a craft knife, or torn by hand,
depending on the effects you are
looking to achieve. Use pencils to
plan compositions, marking lightly
where you wish to place various
elements, and use paintbrushes to
apply glue or for painting collage
pieces or backgrounds.

BRIEF HISTORY The simpler the imagery, the more imaginative you
The use of paper collage as an art form was pioneered in can be with the use of various papers. A piece of work
the twentieth century by artists such as Pablo Picasso and can become busy and overcrowded if it includes lots
Henri Matisse. They cut and pasted paper shapes and of different types of paper.
added them to their paintings. Matisse went on to create
pure collage pieces with no painting at all. Since then, METHODS
many artists have looked to the versatility of paper to help Once the basics of cutting, tearing, layering, and exposing
them create their artwork. have been mastered, in the world of collage it is almost
impossible to make mistakes. Sections of the collage can
PAPERS be made separately but not incorporated immediately,
Collage can make use of a variety of papers, ranging from while you make decisions on composition and content.
commercial or handmade papers to recycled papers such Elements can be moved, added to, changed, or discarded.
as newsprint, postage stamps, and bus tickets. However, Wallpaper paste and PVA glue are suitable for most
remember that the type, weight, and appearance of the collage projects. Wallpaper paste should be mixed with
papers can drastically alter the effect of the finished work. water to a thin consistency. PVA glue can be used
For example, layers of fine, transparent paper will create a undiluted, or if preferred it can by watered down to
delicate effect, whereas heavier corrugated cardboard and a creamy consistency.
brown paper would give a more functional, industrial feel
to a collage. As a general rule, heavy, textured paper will
lead to bold effects; thin papers result in a lighter finish.

THE ROCKS OF LOCH LAXFORD,

SUTHERLAND
ANN DAVIDSON

In order to judge the composition of

the image from a distance, Ann uses
a removable adhesive tape to stick
the pieces to a vertical surface,
and makes changes as necessary.
Numbered registration marks ensure
the final composition is retained when
removing the tape prior to gluing the
pieces to backing paper. The method
allows the artist a degree of control
and precision. The limited palette
helps to convey a remote landscape.
COLLAGE

CUTTING AND TEARING CUTTING

CUTTING The two basic methods of creating shapes Cutting can be carried out using scissors or a
for collage are cutting and tearing. Cutting is craft knife. Scissors are easier to handle but
AND PASTING more precise, offering a quick way of making may not allow the degree of accuracy afforded
by a knife blade. Keep your fingers clear of the
complicated shapes and patterns. The hard,
blades of the scissors or knife and cut slowly,
clean edges that cutting produces would work
with care and attention.
COLLAGE IS AN INCREDIBLY CREATIVE well in a geometric abstract design or an
AND ADAPTABLE TECHNIQUE. YOU CAN architectural cityscape.
ACHIEVE A WIDE VARIETY OF EFFECTS Tearing in a controlled fashion can create
simple images, and with a tittle practice you
BY VARYING THE WAY IN WHICH YOU
can gain more control over the resulting
USE YOUR PAPER PIECES TO MAKE
shapes. Papers can be torn with or against
SHAPES AND PATTERNS. the grain. It is slightly harder to work against
the grain, and it requires more control to
produce definite shapes. If a "straighter" edge
is needed you must tear along the grain.

A GALE IN STRATH FLEET, SUTHERLAND

ANN DAVIDSON

Ann Davidson often creates her own colored

paper by pouring paint onto wet paper and
letting the paint flow, in a technique she refers SEE ALSO
to as "controlled accident." The various collage
pieces are made by tearing away the areas she Paper Grain, pages 10-11 MANIPULATING PAPER
likes best. In this instance the paint dried into Creasing and Cutting, pages 12-13
the shapes of birch trees, so she choose to Paper can be creased, crinkled, crushed, pleated,
compose a landscape around them. and curled. By using a variety of manipulating
techniques you can alter the general appearance
and surface quality of the paper. If the paper has
been constantly creased and crinkled it may start
to wear, a quality that could be used to your
advantage to create a distressed feel.
 CUTTING AND PASTING I 23

TEARING PASTING
A torn edge can provide an interesting contrast In most cases you will apply glue to a collage
to a background, and there are various piece and position it on the base sheet. However,
techniques of tearing to choose from. at other times you may find it easier to apply the
glue to the base sheet.

3 Continue pasting the remaining elements into

place. If you have a brayer or similar small
1 To tear a circle or part of a circle, hold a plate roller, work it over the whole collage to make
over the sheet of paper and tear the paper along 1 Use a paintbrush to brush the glue onto the sure all the pieces are stuck down.
the plate s curved edge. back of a collage piece.

THE COMPLETED
TORN COLLAGE

The torn edges of the

handmade paper used for this
2 Use a metal ruler to tear in a straight line. example provide interesting
Place the ruler on the sheet of paper and tear 2 Turn the glued sheet over and position it on the texture and contrast details.
the paper along the ruler's edge. base sheet. Use a clean, dry paintbrush to brush
the piece into position, working from the middle
toward the edges to expel any trapped air.

3 You can tear any shape freehand, and with

practice you will become more accurate.
COLLAGE

WORK IN PROGRESS BALANCE AND SCALE

COMPOSITION Take time over the planning stage to help you Scale of shapes and pattern plays an
visualize the finished work in a rough format. important part in balancing a piece of work.
You can use a sketchbook or pinboard to help If everything is of the same scale the picture
THE COMPOSITION OF YOUR WORK- you to collate your collage pieces and hone may look static and lifeless. The addition of
WHERE YOU PLACE EACH PAPER SHAPE down your ideas. You may find it useful to pattern or shape of a different scale will add
AND PATTERN — IS CRUCIAL TO THE arrange images according to color or subject movement and interest.
matter, and will likely see a theme develop.
OVERALL EFFECT OF THE FINISHED
It is important to assess your work COLOR
PIECE. THE COLLAGE CAN BE
constantly as it progresses, and do not be Careful use of color can help to balance a
REPRESENTATIONAL OR ABSTRACT, afraid to discard elements that are not design. It is wise not to have a picture made of
ELEMENTS CAN BE ARRANGED working. Reposition the elements as many only dark or light colors. For example, a dark
RANDOMLY OR SYMMETRICALLY, AND times as necessary to achieve the desired collage will look overpowering, but can be
THE WHOLE PIECE CAN BE AS SIMPLE
effect: accidental discoveries made by lightened considerably if hints of a lighter
arranging and rearranging pieces can be color are added.
OR COMPLEX AS YOU LIKE.
very exciting. Having too much of one particular color
may throw off the balance of the finished
LINKS work. So, if one color appears as a large
Using collage pieces with similarities in shape or fills a single area, use a little of
SEE ALSO
shape, color, and tone can help to link it somewhere else in the work.
Cutting and Pasting, pages 122-123 disparate areas and create an integrated
whole. Think about how the background will
interact with the elements placed over it. Ask CREATING A BACKGROUND
yourself whether large plain areas need to The nature of the background imagery and the
be broken up with smaller pieces, or whether style of its creation depend on the theme and
detailed areas need to be separated by a mood of the overall image.
contrasting color or flat shape.

CEATHRAMH GARBH,
ARDMORE,
SUTHERLAND
ANN DAVIDSON
The focal point of this Using paint on commercial papers is an easy
collage is the small way to create your own surface. Watercolors
lake at the center of give a subtle, watery background. For a
the hillocks. The artist graduated effect, choose three colors that blend
tries out a number well together. Paint one-third of the paper with
of combinations with
the first color, then paint the next third with the
colored torn paper,
until just the right next color, starting by overlapping the two
composition becomes colors. Repeat with the third color and use a
apparent. damp brush to blend the seams between colors.
 COMPOSITION

OVERLAYING

Once you have created a background, the focal-point details can be

overlaid. Several layers can go on top of each other, with various parts
of each visible from underneath the next. Or there may be only one extra
layer on top of the background.

a
You could take as your starting point images of
a similar color. Arrange a selection of images
according to the tone of the color or by size or
subject matter. Here the largest areas of blue
are laid down first, then smaller parts are
added to the basic square shape.

Experiment with the arrangement of your

overlaid pieces, considering their size and shape
and position on the background. The people, due
to their size, make for good middle-ground
detail in this beach scene.

You can make paper semitransparent by

applying a generous amount of linseed oil to
your selected image using a paintbrush. Allow
to soak in well, then remove excess oil with
A background can also be built up in strips.
a cloth. Apply glue to the reverse side, place
Choose papers of similar colors or, as here,
it over your background, and press down
papers that feature similar textures, for a
firmly. When the glue has dried parts of the
unified feel. Trim all the strips to the same
background will be visible through the paper.
width, then fix them together using glue on
overlapping edges, or paste them to a backing
of paper or card.

Translucent layers can be overlaid to allow the

background to show through. Photocopy your
image onto tracing paper and layer it over your
background to decide on the preferred position.
Cut the shape out and use a dilute PVA glue mix
to paste in place.
COLLAGE

PROJECT Working directly with a subject matter in

WHAT YOU WILL NEED
front of you will make your interpretation
of the shapes and colors more accurate. • Good-quality papers
PAINTED Start by painting white paper with the • Watercolor paints- Prussian blue,
lemon yellow, purple madder,
required colors, or, if you prefer, use store- Naples yellow, white, and sap green
PAPER bought colored papers. Use a good-quality
paper as a base for painting, so that the paper
• 1 sheet of tissue
• Paintbrushes
paper

doesn't warp. Once the painted papers have

COLLAGE dried they can be torn into the background,
• Metal
• Pencil
ruler

• Pastels
bowl, and fruit shapes.
THIS COLLAGE PROJECT INTERPRETS • PVA glue

AN ACTUAL STILL LIFE IN AN ACCURATE

AND REALISTIC WAY.

SEE ALSO

Cutting and Pasting, pages 122-123

Composition, pages 124-125

1 Begin by painting all of the papers. Paint flat 2 Paint a graduated wash of sap green, diluting
washes of Prussian blue, lemon yellow, purple the paint with a little more water as you work
madder, and Naples yellow mixed with white. down the paper, to achieve the graduation.
Don't worry about uneven marks in the washes, Areas from this will be used to create the light
since these add to the charm of the finished and dark tones of the pears. Paint one sheet of
collage. Allow the papers to dry. tissue paper with sap green, and leave both
papers to dry.
COLLAGE PIECES

Carefully choose which areas of the

painted paper to tear into which
shapes, allowing yourself to be
guided by the color and texture of
the paper. Add details with pastel
or more watercolor as desired.
 PROJECT: PAINTED PAPER COLLAGE

3 Tear the tissue paper along the grain with 5 Add shading to the shapes by drawing and 6 Assemble the background, then the fruit, and
long, easy strokes, into strips ’Ain. (1.3cm) wide. smudging pastel on the torn paper pieces. Use finally the bowl. Keep adjusting and tearing the
To make a checked tablecloth, place strips in your finger to rub the pastel marks and blend shapes as necessary. When you are happy with
horizontal rows about 1in. (2.5cm) apart and fix them together for a soft effect. the arrangement, apply glue to the reverse side
into position with PVA glue. Fix vertical strips in of each piece and fix in place.
the same way.

PAINTED PAPER COLLAGE

! Layering and overlapping of all elements gives this collage
I picture a good sense of depth.
 FINISHES
EQUIPMENT CHECKLIST

Make sure you have all your

UNIT 9 Various varnishes can be
used to seal and protect a
equipment to hand before you
begin:
papier mache piece, as welt
• Found mold
as imparting the desired
finish, for example
• Petroleum jelly or soft soap
completely matte or with a
(layer the mold with one of these
to ensure the dry papier mache soft sheen. Choose acrylic
piece can be easily released] paints if you wish to color
• Wide bowl for mixing paste your piece.
• Wallpaper paste and/or PVA glue
• Craft knife

• Wooden modeling tool (optional)

MACHE
• Acrylic primer
• Paints and varnishes (optional]
• Paintbrushes and/or rags (used
for applying finishes, including
primer, paint, and/or varnish]

IN RECENT YEARS, PAPIER MACHE HAS UNDERGONE A MAJOR REVIVAL.

ITS VERSATILITY AND LOW-TECH METHOD MAKE IT THE (DEAL MEDIUM

FOR THE CRAFTSPERSON WITH LITTLE SPACE OR FEW FACILITIES.

GRETA (THE GUARDIAN CAT!

ANAT BAR AM PARROTS
Cats are a symbol of tuck in JOANNA JEDRZEJEWSKA
many cultures, and some believe These papier-mache
that they watch over us. This parrots contain a
sculpture recycles plastic "skeleton" made from
bottles and creates art that will wire, newspaper, and
help clean the world and make aluminum foil. They aFe
people smile. The body of the brightly painted with
sculpture is made from the
acrylic paints over a
upper part of a bottle, topped
layer of gesso, and
with rolled-up newspaper to
the smooth finish is
shape a head. The decoration
completed with several
theme features delicate bright
coats of acrylic varnish.
red flowers on a meadow
background.
 BRIEF HISTORY
grain— rather than cut, because tearing produces
Papier mache is a French term meaning "mashed paper." smoother and less obvious joins when pasted down. When
It was first coined, not in France but in eighteenth-century casting from a more complicated form it is better to use
London, by French emigre workers who made papier- smaller, thinner pieces of newspaper. These will mold
mache objects in smalt workshops. Only recently have themselves to the form without creasing.
the French themselves recognized the term. The number of layers laid down depends on the required
thickness of the finished article. About ten would be
PAPERS enough for a bowl that will be further strengthened with
Large-format newspapers are most often used, since their paint or varnish. About eight layers would be sufficient
paper is of a better quality than tabloid newsprint, and it for a mask. Lay the paper in one direction for one layer,
is much more flexible and adaptable when soaked with then crosswise for the next, to give the piece more
paste or glue. Using alternate layers of pink and white strength. Smooth each piece of paper down with the
newspaper makes counting the layers easier. You can also fingers so that no air or lumps of paste are trapped
layer with different kinds of paper. Fewer layers would be between the layers, since these will disfigure the final
necessary if using thicker, handmade papers, although piece when dry. It is possible to add all the layers in one
they would need to be torn into smaller pieces to cover go, but allowing each layer to dry before applying the
a curved surface without creasing. Tissue paper will next produces a more reliable finish. This is a matter of
produce a delicate but fragile piece. personal preference however; each artist discovers and
Colored or dyed paper can also be used, thus enhancing refines their own techniques.
and revealing the technique of layering, while integrating Wallpaper paste and/or PVA glue are used for papier
the decoration of the piece with its construction. mache. You can mix the two glues to the consistency of
Experimenting with different kinds and strengths of paper double cream. Spread the glue or paste onto each side of
is an exciting and worthwhile way to explore the many the strip of paper separately and allow it to soak through
possibilities of this technique. the paper to render it more flexible, although it should not
be wet. It is a good idea to paste up a few pieces at a time
METHODS and lay them around the edge of the paste bowl ready for
Papier mache is a laminating technique used to cast from use. They will soon dry, so use them quickly. Alternatively,
a mold or former, and involves building up many layers of paste up a large piece of paper before tearing into strips.
torn pasted paper. The paper is torn into strips— along the

HARE
NANCY WINN
CREAMY BOWL
JOANNA JEDRZEJEWSKA This charming piece by
Nancy Winn captures the
This bowl has been formed
shy yet inquisitive nature of
using an inflated balloon
the hare. Nancy works with »' -

as a mold. Papier-mache
recycled materials to
strips are applied to the
create art that is fun and
mold, followed by a final
easy to understand. Much
layer of paper pulp (see
like clay, papier mache
pages 136-141). When
is an expressive medium
everything is dry. the
much suited to the creation
balloon is burst, and the
of three-dimensional art.
bowl finished with paints
and varnish.
PAPIER MACHE

CASTING CHOOSING MOLDS

Balloons, plates, bowls, flowerpots, and even
CASTING A BOWL

A bowl is one of easiest molds to start with.

woks make good molds. When choosing a 'To get a good finish, the layers need to be
FROM A suitable mold, consider whether you should worked with care, so don’t rush.

cast from the inside rather than the outside,

FOUND MOLD in order to release the paper cast in one piece,
since there is a certain amount of shrinkage
of the paper during the drying process.
IT IS POSSIBLE TO MAKE ONE-PIECE

CASTS USING A HUGE RANGE OF

OBJECTS AS MOLDS, AS LONG AS THEIR

SHAPES ARE NOT COMPLICATED.

1 Cover the inside of a bowl with a releasing

agent such as petroleum jelly or soft soap.
Take care to include the inside and top of the
rim. Tear the newspaper down the grain in
strips 1V2in. (4cm) wide. Tear again into lengths
of 3in. (8cm).

ETRUSCAN SPRING
RENEE PARKER

The mold for this pitcher, inspired by

2 Put the paste of your choice into a bowl: this
the artist's love of ancient artifacts, has
been built from salvaged materials. The can take the form of PVA glue, wallpaper paste,
rudimentary shape is made by taping or a mix of the two. Apply the paste to the paper
a paper cone to the bottom of a small strips in small batches as you work. Paste each
balloon, with a piece of cardboard tube piece separately with the fingers, making sure
at the top; the handle is formed from a the strips are not soaked and that there are no
piece of hanger wire. The unique shapes lumps of paste attached.
of the neck, spout, and handle are
created by layering more strips of
newspaper in some areas than in others.
Once dry, the balloon is popped and
pulled out, the papier-mache surface is
sanded until very smooth, and several
layers of acrylic paint and matte sealant
are applied to achieve a weathered look.
 CASTING FROM A FOUND MOLD

36 Lay pasted strips of paper in the mold, Twist the dry papier mache and the cast DECORATIVE DETAILS

smoothing each piece separately and bowl will release. If there is any reluctance, In the case of a bowl,
overlapping each one. Continue until the first or if the first layer seems damp, leave to dry there are many
layer is complete. You may prefer to allow the for a little longer. alternative and
first layer to dry before applying the second, imaginative ways to
treat the rim, which will
or move straight on with the next stage.
influence the bowl's form and character. For
example, when layering, allow the torn paper
to project from the mold and, when thoroughly
dry, tear into a deckle edge. The rim may be cut
unevenly, scalloped, or zigzagged, or be cut through
like latticework. Here, six layers of pasted paper
strips have been added to the rim, which is being
cut to shape.

3k.

7 Cut the rim evenly with a craft knife, and add

two layers of pasted paper to cover the sharp
4 Lay a second layer of paper over the first, cut edge. DRIP
RENEE PARKER
crosswise for strength, using paper of a
different color for each layer if possible. Cover A plastic bottle acts
as a quick,
very evenly. Continue with alternating colors
inexpensive mold.
until ten layers are completed, remembering DRYING METHODS Newspaper strips
to smooth each layer to eliminate any bubbles. dipped in white
Leave to dry. Drying times vary according to the working glue are applied 1
environment. It is always best to let the piece dry
the top, dome¬
at an even temperature in a warm place— an
airing cupboard is ideal. Drying may be speeded shaped part of the
up by using an oven on a very low temperature. bottle. Once dry,
Rapid drying may cause distortion, and could dome is cut off the
cause the mold to degenerate, depending on bottle and the seam
what it is made from. taped back together. A
"drip" shape cut from cereal
box cardboard is taped to the
narrowest end to make the bottom of
the cup, and a handle shaped from salvaged
wire is taped to the side. Paper strips are applied to
the whole form and when dry the cup is sanded and
painted with acrylic paint. The outside is sealed with
a matte sealant, and the inside has several
5 When the bowl is completely dry, ease the top applications of a high-gloss sealant, to imitate
glazed ceramics.
of the cast away from the mold.
 PAPIER MACHE

USING OTHER MATERIALS

The most useful material for creating your
own mold is children's soft modeling clay,
MOLDS which can be molded into myriad shapes.
Plaster of Paris can be used in conjunction
with the modeling clay to create a more
ANOTHER APPROACH TO THE LAYERING permanent mold that can be used again
METHOD IS TO CONSTRUCT YOUR and again.
OWN MOLD. THIS ALTERNATIVE

OFFERS NUMEROUS POSSIBILITIES.

2 THE SIMPLEST, PERHAPS, IS A Add on details formed from other pieces of

TRADITIONAL RELIEF MASK, BUT IT MAKING A MODELING CLAY MOLD modeling clay by overlapping them with the
Children's soft modeling clay is one of the main form and smoothing the join with fingers
IS ENTIRELY POSSIBLE TO MAKE
simplest and most convenient materials to or modeling tool,
THREE-DIMENSIONAL OBJECTS,
use to make your own molds.
WHERE THE PAPER IS LAYERED

ON ALL SIDES OF THE MOLD.

SEE ALSO

Casting From a Found Mold, pages 130-131

Decorative Ideas, pages 134-135

31 To make a relief mold, place a slab of rolled- When you are satisfied with the shape of the
out modeling clay on the work surface and use mold, inscribe surface texture with various
a knife or wooden modeling tool to cut out the tools. Take care not to create any sharp
outline. Carve pieces away from areas that undercuts or over-projecting details that
require thinning. will prevent the release of the cast.
TAMASHI BIRDS
ANAT BAR AM
Momma Luna and her chick
Sunny are created from plastic
bottles and newspaper. The
pair express nature, hence the
moon and the sun adorning
their heads, and the
decorations of clouds,
hills with trees, flowers,
and butterflies. Anat uses
a pen to create the delicate
drawings, and water-soluble
aquarelle crayons to create
various effects with color. To
protect their delicate nature, 4 To make a three-dimensional, freestanding
the birds are covered with a mold, shape the clay in your hands and add
layer of varnish. extra elements and surface detail in the same
way as for a relief mold.
 USING OTHER MOLDS

MAKING A PLASTER MOLD CASTING FROM A HOMEMADE MOLD

A more permanent mold for a mask or a relief When you are sculpting your mold from the initial modeling clay, take care not to allow
form can be made from plaster of Paris. any part to project too far, since this will cause difficulties when releasing the cast.

1 Model the form with modeling clay, then build 1 Coat the mold with an even layer of petroleum 3 Trim the uneven edge of the mask, so that it
a retaining wall with wooden battens or clay jelly or soft soap. Prepare and paste paper can lie flat.
1in. (2.5cm) higher than the mold. The whole strips as for casting from a found mold, but
structure should be built on a wooden board make the pieces much smaller to allow them
and the walls sealed to the board to prevent to curve around the intricate shapes of the
seepage. Mix the plaster according to the mold. Apply the first layer of paper, smoothing
instructions, until it becomes creamy. Pour this it to remove air bubbles and excess paste.
mixture gently into the mold until it reaches the
top of the retaining wall. Bang the work surface
to force out any bubbles trapped inside.

4 Cover the cut edges of the mask with two

layers of paper. Allow to dry thoroughly before
painting.

THE COMPLETED
PAPIER-MACHE CAST

The completed cast

can be painted with
2 The plaster warms as it sets. When set, turn 2 Cover with eight layers of paper in alternate acrylic paint (see
over and remove the clay. Allow the mold to dry colors, and allow to dry thoroughly. Release the page 135).
thoroughly, then coat with shellac to seal the cast by prising the edges away from the clay
surface. The plaster mold is a negative, and can with fingers or a blunt knife.
be used for layering papier mache or for casting
with pulp (see page 140-141).
PAPIER MACHE

DECORATIVE Interesting decorative effects may be achieved

by adding objects to form a relief pattern,
Before priming it is possible to go some way
toward waterproofing a papier-mache piece
either under the final layer of paper, or on top by coating it with three or four layers of
IDEAS of it but under a primer layered paint. String linseed oil, before baking at a tow
can provide free-flowing embossed lines, temperature until completely dry.
while seeds, shells, and pieces of cardboard
TECHNIQUES FOR DECORATING AND may be glued in place. VARNISHES

EMBELLISHING PAPIER MACHE OBJECTS A variety of finishes can be achieved using

SEALING different varnishes. Many layers of
ARE LIMITLESS. ILLUSTRATIONS OF
The papier-mache surface needs priming polyurethane varnish, sanded lightly between
FINE DECORATIVE FINISHES MAY
before decorating. This will prevent the paint each coat, will produce a glassy effect.
PROVIDE INSPIRATION, BUT THERE ARE
from being absorbed by the porous paper. However, the varnish has the disadvantage
NO SET RULES, AND DECORATION IS UP Acrylic primer gives a good, matte white of yellowing with age. A single coat of matte
TO YOUR OWN IMAGINATION. surface to work on. water-based varnish will seal a painted
surface, but will not be obviously visible.
Papier-mache objects treated with varnish
FELIX will never be completely waterproof, and must
RENEE PARKER
not be expected to hold liquids. They can,
This piece is one of a series inspired by the
however, be wiped clean with a damp cloth
artist's grandmother's teacup collection. Strips
of newspaper are layered onto the top portion of without damage.
a juice bottle, around the neck, to form the bowl A more interesting surface can be obtained
of the cup. Once dry, the bowl shape is cut to with the use of traditional lacquer. It dries
release it from the bottle and the seam taped hard, so strengthening the piece and giving it
back together. A handle shaped from salvaged
wire is added, and a circle cut from salvaged
a finish that resembles porcelain. The lacquer
cardboard taped in place to form the bottom itself may be colored with powder paint. An
of the cup. After layering the whole piece with ancient-looking mottled effect can be created
papier mache, it is dried and sanded smooth, by painting color layer by layer over the
then painted with acrylic paint. Matte sealant
lacquer, sanding each layer as it dries.
is applied to complete the piece.

SEE ALSO

Casting From a Found Mold, ,

pages 130-131
Using Other Molds, pages 132-133
 DECORATIVE IDEAS

TEXTURED PAINTING HANDMADE PAPER AND GOLD LEAF

Papier-mache objects can be painted with The application of precious-metal leaf is a surprisingly uncomplicated process
brushes, sponges, or rags. Acrylic or gouache that will magically transform papier mache. Here it is combined with handmade
(water-based) paints are ideal. papers that are used as the final layer of the papier mache.

e . a

1 Paint on a coat of acrylic primer and leave to 1 Tear spirals, squares, and circles from a 3 Gently press the gold-leaf shapes onto the
dry completely. variety of handmade papers. Paste all over glue and peel the paper backing away from
the shapes and overlap them on the surface the gold leaf.
of the papier-mache form. Allow to dry.

2 For a bright, uniform effect, apply acrylic paint

at its full intensity. To apply a subtle wash, dilute
the paint first.
2 Cut some gold leaf into strips or other shapes. A When dry, seal the decoration with water-

Brush PVA glue on the papier-mache surface in based varnish.

the places where the gold leaf will be placed,
and leave until it becomes tacky.

THE COMPLETED
DECORATION

Neutral shades
have been used to
decorate this plate
3 You can add texture by applying a wash and but you could use
removing some of the paint with a rag. Or dip a differently colored
kitchen towel in paint and dab it onto the cast. pages as desired.
 EQUIPMENT CHECKLIST

Most of the equipment used to

make pulp can be found in the
kitchen.
• Scissors

• Selection of mixing bowls

SHREDDED PAPER
• Blender (food processor) or
Many people Like the
electric whisk
• Sieve
security of shredding
their own documents
• Protective gloves
at home. Go one step
• Cardboard (this can be used to
further and use the
make a base onto which paper
pulp can be layered) shredded documents

P IN G
to make paper pulp.
» Craft knife (used to cut a
cardboard base]
• Strong adhesive tape
• PVA glue
• Paintbrush

• Acrylic primer
• Mold
AN ALTERNATIVE BUT SIMILAR TECHNIQUE TO LAMINATING PAPIER
• Plastic wrap ID

j MACHE IS PAPER PULPING. INSTEAD OF USING TORN PAPER YOU CAN

i MAKE UP A PAPER PULP AND COMBINE IT WITH PASTE. THIS CAN THEN

BE PRESSED INTO OR SHAPED OVER A MOLD OR FORMER, GLUED TO

i A BASE STRUCTURE, OR EVEN SHAPED WITHOUT A MOLD.

IN RIMA Al DUSCINETTI
D’AUTUNNO
RED BOOTS
IRMA IRSARA
ERIKA TAKACS
A flat light blue layer of This piece is inspired by
pulp forms the basis of the seven-mile boots from
this piece. To create the a tale by the brothers
airborne leaf shape in the Grimm. Erika covers
middle, multiple layers of a wire armature with a
autumnal reds and oranges commercial paper pulp.
are laid down. Twisted After the hardening of the
paper twine is embedded first layer, a second layer
into and pulled away from is added to the figure to
the leaf, leaving an replace lost detail due to
impression, and shrinkage. It is finished with
reincorporated into the acrylic paint and sealed
piece to create a three- with a water-based sealer.
dimensional effect.
 WHIMSICAL FISH LAMPS
BARBARA FLETCHER

Barabara Fletcher's unique method of working with

paper pulp is to spray it in many overlapping layers onto
wire screening, using an air gun designed for spraying
ceilings with textured paint, but adapted for the bulkier
pulp. The resulting sculpture is then painted with fabric
dyes. Barbara discovered the illuminated beauty of the
paper pulp texture after holding a sprayed piece over a
light source.

PAPERS an existing base with the help of a little PVA glue.

This is a good way to recycle your shredded documents, Making the pulp requires the use of kitchen equipment,
alternatively tear strips from any paper that is neither including a blender (food processor] and sieve. If these
glossy nor coated. Newspaper, photocopy paper, leaflets, items are going to be used regularly for paper pulping it
and even junk mail can all be useful sources of the ideal is probably worth acquiring some just for this purpose.
raw ingredient. However, if they are going to be used only occasionally,
provided they are washed thoroughly after use, they will
METHODS not be damaged.
Adding wallpaper paste to a pulp made from recycled
paper makes a modeling medium that sets hard and holds DECORATION
together well. Paper pulping is a much quicker method for Objects made using paper pulp can be finished using
building up thickness than papier-mache layering, and any of the techniques detailed for papier mache (see
objects made using pulp are less likely to warp. As well Decorative Ideas, page 134).
as casting using a mold, you can model paper pulp onto

MAGIC PUMPKINS
LIAT BINYAMINI ARIEL
These pumpkins are made from
recycled paper pulp, mixed with water
and glue. The pulp is applied onto
a pumpkin-shaped mold made
from used plastic grocery bags.
When the outside is completely dry
the lid is cut open, and all of the
plastic bags are taken out, allowing
the inside of the pumpkin to dry. The
pumpkin is then sanded, primed,
painted, and varnished just like any
other papier-mache artwork.
PAPER PULPING

PREPARING PREPARING THE PAPER MAKING PULP

THE PULP
AS WITH PAPERMAKING, THE PULP IS

MADE BY SOAKING AND PROCESSING

SMALL PIECES OF PAPER. THE

ADDITION OF WALLPAPER PASTE,

HOWEVER, IS WHAT MAKES THIS A

ROBUST AND LIGHTWEIGHT MEDIUM

THAT IS SUITABLE FOR CASTING AND If you are using sheets of paper, tear them into 1 Soak the paper pieces in a large bowl of
MODELING TO CREATE THREE-
squares of about I'Ain. (4cm). Shredded paper water for at least three hours, although
should be cut to lengths of about 2in. (5cm), overnight is preferable. Place a small handful
DIMENSIONAL OBJECTS.
since longer strips will wrap around the shaft of soaked paper in a blender then top up with
of the blender mechanism and strangle it. water to the maximum level indicated on the
jug. Liquidize the mix until the paper is reduced
to a pulp.

ESPERIENZE Dl
COLORE
IRMA IRSARA

Inspired by light viewed

through a waterfall, 2 Pour the contents of the blender through a
Irsara layers pulp of sieve to drain the water from the pulp. Agitate
contrasting colors. the pulp in the sieve to remove excess water.
Twisted paper twine is The pulp should be damp but not dripping.
embedded in the pulp
and stripped away
to reveal the colors
underneath. Some of
the removed strips
are then glued back
elsewhere. Irsara dries
her work slowly and
naturally in the open
air in order to achieve
maximum strength and
intensity of color.
 PREPARING THE PULP

COLORED PAPER

ARRESTARSI Al RAGGI NOTTURNI

IRMA IRSARA

Dyed pulp is laid down in layers of

color from light to dark, wet on wet
The greens and yellows evoke the
feel of watercolors, and the artist
did need to control the amount of
water used in the pulps in order to
monitor the bleed between colors.
3 Crumble the pulp to break it up into pieces. You can make a colored pulp simply by using
The colors chosen reflect dense
Repeat Steps 1 and 2 until you have enough pulp colored papers. Construction paper, colored forest, moss-covered trees, and
for your project. napkins, and tissue paper are good examples glimpses of bright moonlight.

4 Mix wallpaper paste to a fairly thick

consistency and, wearing protective gloves if
preferred, gradually add paste to the pulp, until
the pulp is pliable but not wet. When squeezed
into a column 2in. (5cm) high it should remain
upright. If it falls over it is too wet so add more
pulp. If it is dry and crumbly add more paste.
 PAPER PULPING

APPLICATIONS An easy way to make large pieces is to start

with a cardboard base, build up bulk with
newspaper, then cover this base structure
with a thin layer of paper pulp. By building in
AS WITH PAPIER MACHE, PULP CAN this way, less pulp is used and it dries faster
BE CAST USING FOUND OBJECTS and more evenly. Any type of cardboard
SUCH AS BOWLS AND PLATES, OR can be used to make the base, including
corrugated cardboard, mounting card,
IT CAN BE MOLDED OVER A BASE.
cartons, carpet rolls, and tubes. To make
an especially strong base, laminate several
layers of cardboard together with glue.
SEE ALSO

Casting from a Found Mold,

pages 130-131 PULPING ONTO A CARDBOARD BASE
Using Other Molds, pages 132-133
3 The cardboard structure— not the pulp— gives Brush PVA glue onto the base in stages,
Decorative Ideas, pages 134-135
the piece its strength, so it is important to and mold the pulp firmly into place over it.
attach handles or other additions very firmly
before the pulp is added.

4 1 Design the cardboard base and use a craft The pulp is strong enough to be molded
knife to cut out all the elements. Use strong freehand into small decorative motifs.
tape to fix the elements together to make a
solid structure— in this example a tray.

EVOLUTION
ERIKA TAKACS

Inspired by The Thinker and Seated Woman, two

Neolithic figurines from the Hamangia culture, this
sculpture reflects upon evolutionary processes
triggered by gene mutation, natural selection, and
interbreeding between Neanderthals and Homo
Sapiens, long suspected, and now confirmed by the
latest research studies. A steel screen armature is
covered with a commercially bought paper pulp, and
25 the sculpture is sealed with a water-based sealer Use crumpled newspaper to build up the rim Continue applying glue and pulp to cover the
and lightly patinated with acrylic paint. by gluing and taping it into place. whole base. Add more pulp to areas that need
extra strengthening. Leave to dry thoroughly.
 APPLICATIONS

CASTING A PLATE

Make sure the pulp is dry before you attempt

to remove it from its mold.

4 Decorate the rim with more pulp, then leave

to dry in a warm place.

6 When the tray is completely dry, brush on a 1 To begin, line the top of the plate mold with
coat of acrylic primer to seal the surface. plastic wrap.

5 Remove the pulp plate from the mold. Finish

the underside by making a foot rim with more
pulp. When the pulp is completely dry, seal the
cast with a coat of acrylic primer.

2 Press the paper pulp evenly onto the inside of USING OTHER MOLDS

the plate mold to a thickness of about V4-V2in.

(6mm-1.3cm). Leave to dry slightly.

THE COMPLETED TRAY

The tray can be finished using paints and varnishes.

You can buy craft molds suitable for making

3 Smooth the surface of the pulp with the back Christmas decorations or small casts to stick
of a metal spoon. on cards or book covers. Alternatively, try using
jelly or candy molds.
J| *! I

EQUIPMENT CHECKLIST

To make recycled paper or plant

fiber pulp you will need the
following:
• Protective tablecloths and
aprons
• Scissors

• Blender (food processor)

• Glass jars
• Sieve

• Papermaking pigments (if you

wish to coloryour pulp, then
these give the best results)
• Fireplace ashes (these make a
good alkaline solution when
breaking down plant fibers)
• Saucepans (only necessary when form the sheet of paper. The
preparing plant fibers! deckle gives shape to the
• Protective gloves (wear these sheet of paperwhile
when preparing alkaline allowing for the natural
solutions for plant material "deckle edge” to form on
preparation) every side, which is a
• Size distinctive feature of
handmade paper.
To form sheets of paper you will
need:
• Mold and deckle
• Vat
MAKING YOUR OWN PAPER IS HIGHLY SATISFYING. A LITTLE TIME MUST BE SPENT
• Two boards, larger all around
than your couching pad (these BEFOREHAND TO PREPARE THE MOLD AND DECKLE AND TO GATHER EQUIPMENT,
should be rigid and
nonabsorbent; if wood is used, BUT ONCE EVERYTHING IS ASSEMBLED, PAPER CAN BE MADE TIME AND AGAIN.
prime it first)
• Blankets

• Felts

• 4 G-clamps or several bricks

• Clothesline and clothespins, or
a smooth surface such as glass,
melamine, or linoleum
• Iron
• Paintbrush
• Knife PLANT PULPS AND
NATURAL INCLUSIONS
• Turkey baster and cookie cutters
(optional) Plants and flowers from the
garden or the wild can be
used to make the actual
paper pulp, or may be
embedded in the final sheet.
v Seeds, petals, leaves, and
even whole flower heads
give handmade papers a
truly personal touch.
 BRIEF HISTORY across it. During papermaking the deckle rests on top
For most of its 2,000-year history, paper has been made of the mesh side of the mold to confine the pulp to the
by hand. Only since the Industrial Revolution has the size of the screened area, giving definition to the sheet
process become mechanized. The technology of modern of paper.
papermaking is very complex, yet the basic process Mold and deckle sets are available through
remains so simple that even a child can make paper. papermaking suppliers and through auctions of
secondhand equipment. Alternatively, pieces of wire
PAPERS screening or fabric mesh can be stretched over a picture
Recycled papers can be used to make new sheets, frame to make a mold. An identical frame without the
including photocopy paper, advertisements, tissue paper, screening may be used as the deckle.
paper towels, and wrapping paper. However, avoid using A vat is a container for holding the mixture of water
paper that has a lot of black type on it: the plainer the and pulp that you form the sheets from. It must be able
better. Newspaper, being highly acidic, will turn yellow and to accommodate the mold and deckle in the act of sheet
brittle too quickly. Glossy magazines are also best avoided. formation. A regular kitchen basin is a good size for a
Plant fibers require a little extra preparation before 5V4x 8 V2in . [14 x 21cm) mold and deckle set.
being blended into a pulp. Some plants will only require Felts are the pieces of fabric that each sheet of paper is
cooking, while others will need the help of an alkaline "couched" or laid onto. The felt helps to hold the edge of
solution to break down the fibers. A standard alkaline the newly formed sheet as it is rolled off the mold. It also
solution made from fireplace ashes, soda ash, or washing helps to absorb the water from the new sheet so that the
soda is adequate to treat most plant material. For tougher fibers of pulp can lock together to form a strong bond.
specimens, such as yucca or raffia, caustic soda is a Nonwoven dishcloths are an inexpensive material to use,
stronger alternative. Wear protective gloves when making or try medium-weight sew-in interfacing— available from
and using alkaline solutions. the dressmaking department of large stores— cut to size
a little larger then your mold.
SPECIAL EQUIPMENT To create the couching pad and make the process
A mold and deckle is the piece of equipment used to of releasing the sheet from the mold that bit easier, a
actually form a sheet of paper. The mold is simply a frame number of pieces of cut-up blanket may be placed under
with mesh stretched over it to catch the pulp and allow the the first felt, and again over the final felt to protect the
water to drain through. The deckle is a frame, not unlike sheets when pressing out the excess water.
the mold, but completely open with no mesh stretched

NOTECARDS
KATHY SAWATZKY

Recycled pulp with tiny dried

yellow flowers combine to
4
make this eye-catching
stationery paper.

MOLDED BOWL
HEIDI REIMER-EPP

. £ rj Formedfrompaper
embedded with petals, and
embellished with raffia and
M gold wire, this little bowl is
a whimsical example of
handmade paper art.
PAPERMAKING

MAKING PULP RECYCLED PAPER PULP

Paper pieces are soaked in water, and blended

with water in batches.
CAREFUL PREPARATION OF PULP

WILL HELP ENSURE THAT YOUR

PAPERMAKING EXPERIENCE IS

SUCCESSFUL. ALWAYS WORK WITH

SMALL AMOUNTS IN THE BLENDER, AND

4 Pour the contents of the blender into the vat
BLEND THOROUGHLY TO AVOID CLUMPS and continue pulping and filling. The vat needs
AND SPECKS IN YOUR PAPER. to be three-quarters full to form sheets,
however the pulp needs to be similar in texture
to pancake batter, so if it is too heavy simply
1 Cut or tear the paper into squares of 1-2in.
add water to the vat and mix thoroughly. With
STORING PULP (2.5-5cm). Soak them in a bowl of water for
practice you can experiment with the texture
Unused pulp can be strained of water at least 30 minutes, overnight. This begins the
in the vat to produce different thicknesses.
and stored in a refrigerator. Alternatively, process of breaking down the fibers and making
the pulp easier to beat in the blender.
squeeze out any excess water from the
pulp and store balls of it in a freezer,
or dehydrate them by air-drying and store
in a dry place. A preservative (oil of cloves
or thymol) can be added to give it a
slightly longer life. Reused pulp may
be of a slightly lower quality than
newly prepared pulp, however it can
be blended with new pulp. Never pour
pulp mixture down the kitchen sink,
since it will cause a blockage. 5 If you do not wish to use the pulp straightaway,
2 Fill the blender three-quarters full with warm or if you would like to color it with papermaking
JOURNAL water, then add five or six pieces of the soaked pigment, strain the pulp by pouring the contents
As you experiment with using different paper. Secure the lid. Blend in short bursts, of the blender through a sieve.
paper- and plant fibers, and pigmenting checking frequently to make sure the pulp has
the pulp, you may want to keep a not collected around the blade.
papermaking journal in which you can list SIZING
the ingredients used for each type of
paper you make. Then when you come up
with a sheet that you want to duplicate, Lm%k^t*'T / Aj papersheets are to
ItSk '\ be used for painting
you can reproduce the same great results. calligraphy, or
printing, add size
to the pulp to give
a water resistance
to the paper. The
amount of size usee
will vary according
3 When there are no obvious lumps in the to the purpose of
blended pulp, drop a pinch of it into a jar of the paper— writing
water. Screw the lid on and shake the jar paper needs to be
more heavily sized than watercolor paper, for;
SEE ALSO vigorously for one minute. Hold the jar up to example. Always dilute the size in water before
the light to check for even consistency. If clumps adding it to the pulp. Mix it in thoroughly and,
Paper Grain, pages 10-11 of fiber are visible, more blending is required. for best results, allow the pulp to rest overnight
Creasing and Cutting, pages 12-13 before using.
 MAKING PULP

PULP PIGMENTATION PLANT-FIBER PULP

The simplest way to make colored pulp is to Before blending it into pulp, plant material needs to be broken down to separate the fibers and
use colored paper. Alternatively, the pulp can remove unwanted components. Nonfibrous material, for example carrot tops, can simply be
be pigmented using papermaking pigments, simmered in a pan of water for one to two hours, until the toughest pieces pull apart easily. More
which are color- and lightfast. fibrous material, however, requires the addition of an alkaline solution to help the process.

41 Add a small amount of pigment to a jar of Fibrous iris leaves can be broken down using a Pour the liquid solution over the plant material
water and stir well for about five minutes. solution of fireplace ashes. Scrape both sides of and water to cover. Bring to a boil and simmer
This will make the distribution of the pigment the iris leaves with the tines of a fork to help in until the plant material is mushy and pulls apart
within the pulp fibers more even. the breaking-down process. easily. Strain and rinse the fibers several times
to remove the alkaline solution.

52 Place strained pulp in the blender and slowly Cut the leaves into pieces about 1-2in. Add a handful of processed plant material to
add the diluted pigment. Mix the pulp and (2.5-5cm) long and soak these overnight a blender two-thirds full of water. Blend for a
pigment well on a low speed. For best in a saucepan of water to begin the process few seconds if a coarse paper is desired, or for
absorption, leave the pigmented pulp overnight of breaking down the material. longer if a smoother paper is required.
before using.

63 Half-fill a saucepan with fireplace ashes and Add the pulp to the vat and top with water.
3 Then blend it once more before adding it to
cover with water. Bring to a boil, stirring to Continue pulping and adding water until the
the vat.
dissolve the ash. Strain, discarding any vat is three-quarters full and the mix has
I undissolved product and save the liquid solution. the consistency of pancake batter.
PAPERMAKING

MAKING THE THE COUCHING PAD

Before you pull the mold and deckle through the

PULLING A SHEET

Agitate the vat before pulling each sheet, to mix

mix in the vat, prepare the couching pad that the the pulp and water and ensure the pulp does not
PAPER sheet will be laid onto. settle at the bottom. Try to develop the following
steps into a smooth, continuous action.

ONCE THE PULP IS IN THE VAT,

A COUCHING PAD HAS BEEN PREPARED,

AND THE MOLD AND DECKLE ARE AT

THE READY, YOU CAN BEGIN TO PULL

SHEETS OF PAPER.

The first sheet is often the most difficult to

make. It may stick to the mold, or be too 1 Fold a piece of blanket on a waterproof board.
thick or too thin, or full of holes. With each This makes it easier to roll the mold and deckle
piece you pull it will become easier, so do onto the couching surface, establishing
not worry when things go wrong. connection between the pulp sheet and the 1 Hold the deckle on top of the mold with
surface of the couching pad. thumbs on top. Reach toward the back of the
COUCHING vat and, in one continuous motion, pull the mold
The process of transferring the newly and deckle under the surface and up again.
formed sheet onto another surface
is called "couching." The term comes
from the French verb coucher meaning
“to lay down," a precise description of this
technigue, which allows multiple sheet
forming with a single mold. The sheets
are stacked in a "post" that can be up
to 30 sheets high. You may find when
couching that the pulp refuses to come off
the mold. This could be because the sheet 2 Cover the pad with an unfolded piece of
is too thin, in which case you need to put blanket to provide an absorbent layer.
more pulp in the vat. Alternatively, the
sheet might be too dry. Gently wet it again
by placing the mold flat, pulp side up, just
touching the surface of the water in the
vat. This allows the pulp to soak up more 2 As you begin to pull upward, hold the mold
water. Then try couching again. and deckle level with the surface of the water.
This will make the pulp disperse evenly on
the screen. Tipping the mold will cause thick
deposits of pulp in some places and, as a result,
a poor-quality sheet of paper.
Lay a felt on top and smooth out any wrinkles,
since these could transfer to paper. Pour water
SEE ALSO over the entire couching pad to increase the
connection between the sheet and the couching
Making Pulp, pages 144-145
surface. The pad should be damp rather than
soaking wet.
 MAKING THE PAPER

COUCHING

To transfer the pulp on the mold to the couching

pad you need to exert some pressure during the
couching action. As with pulling sheets, you
should aim to develop the following steps into
a continuous motion.

4 Continuing the rolling motion, lift the bottom

edge, and roll the mold off the pad, leaving the
3 Lift the mold and deckle straight up and out newly formed sheet behind on the couching pad
of the vat, breaking the surface tension and
allowing some of the water to drain. Carefully
remove the deckle from the mold to avoid
dropping excess water onto the freshly
formed sheet.

1 Rest the longest edge of the mold on the cloth

edge nearest you.

VATMAN'S TEARS

If water drips onto

5 Cover the sheet with two felts and repeat the
the sheet as you
remove the pulling and couching processes. Cover with two
deckle— a flaw more felts and continue until you form a stack of
known as vatman's newly formed paper sheets separated by felts.
tears— the sheet
must be returned
to the vat.

2 Roll the mold onto the cloth until it lies flat

Hold the mold over on the couching pad.
the vat with the
pulp facing
downward. With a
quick, firm motion,
touch the mold's
face to the surface
of the water in the
vat. The pulp lifts
off and can be
mixed back into 6 Cover the stack or post with a piece of blanket
the vat's pulp and and place a waterproof board on top of the stack
reused.
in prepartion for pressing.

3 Press down firmly on the edges of the mold

to make contact with the cloth.
 PAPERMAKING

PRESSING MAKING A PRESS

One way to squeeze out the water would be to stand Qn the top board and
move gently around to press all areas. Alternatively you can use G-clamps
AND DRYING or bricks to apply the necessary pressure.

THE SHEETS YOU HAVE JUST FORMED

CONSIST OF ABOUT 96 PERCENT

WATER, SOME OF WHICH NEEDS TO

BE REMOVED QUICKLY TO ALLOW

THE SHEET TO BEGIN TO DRY.

21 Attach four G-clamps evenly around the If G-clamps are unavailable, use something
PRESSING boards at top and bottom of the post of papers. heavy, such as a pile of bricks, to apply weight to
The best way to remove excess water is Tighten each clamp until water stops pouring the stack.
to construct a press that will squeeze the from the stack.
water out while maintaining firm, even
pressure that allows the pulp fibers to
bond and make a strong piece of paper. DRYING METHODS

Make sure you are prepared for the gush Whether hung up or left to dry flat, where you
of water that will initially spill out of the dry your sheets will determine how quickly they
press. After pressing, the damp sheets will dry. The warmer the environment the
should be strong enough to pick up and better, which could mean in a heated indoor
transfer to their drying positions. location or outside on a sunny day. Sheets left
next to a radiator will dry quickly, although they
may buckle.
DRYING
Each papermaker will develop drying
methods that best suit the particular 2 To dry a sheet on a smooth surface, remove
surroundings, available materials, and the sheet from the couching pad by holding its
varying conditions of their location. felt backing. Lay the felt with the sheet face
Temperature, humidity, space, and down on the surface and carefully brush with a
time are all contributing factors. dry paintbrush. Then remove the felt. Leave to
dry in a warm environment for about a week.

SEE ALSO

Making the Paper, pages 146-147 1 To hang sheets out to dry, remove the sheet
from the couching pad by holding its felt
backing. Fold over one edge of the felt and
secure the overlapped edge to a clothesline
using two clothespins. When dry, carefully peel
3 When the sheet is dry, use a knife to loosen
the paper sheet from the felt. Press with a
warm iron to flatten completely. the edges and carefully peel the sheet off the
glass. The side against the surface will be
smooth and glossy, while the air-dried surface
will be rougher.
 PRESSING AND DRYING • DECORATIVE TECHNIQUES

DECORATIVE EMBEDDING TECHNIQUES: LAMINATING

Laminating is the process of couching two or more sheets on top of each other, which
then bond together during pressing and drying to form a single, solid sheet of paper.
TECHNIQUES The skill lies in lining up the top sheet so that it is placed exactly where you want it to
be, whether directly on top of the base sheet, or at angles, or randomly applied.

WITH THE BASIC TECHNIQUES

MASTERED, YOUR PAPERMAKING

CAN PROGRESS TO NEW LEVELS OF

ARTISTIC CREATIVITY. EXPERIMENTING

WITH DECORATIVE PAPERMAKING

TECHNIQUES ALLOWS YOU TO CREATE

PAPERS THAT ARE PERSONAL TO YOUR

STYLE OR CUSTOMIZED FOR

PARTICULAR USES.
1 Pull and couch a sheet of paper in the 4 Pull and couch a second sheet directly on top
usual way. of the first, using the threads as guidelines.

SEE ALSO

Making Pulp, pages 144-145

Making the Paper, pages 146-147
Pressing and Drying, page 148

2 To ensure you align the second sheet precisely 5 Carefully lift the mold and deckle away and
on top of the first, lightly position the deckle on press the sheet in a single layer to avoid
the sheet and mark the outside edges with embossing the motif onto other sheets of paper.
string or thread.

THE LAMINATED SHEET

The fibers of the pulp have

merged together and the feather
is encapsulated within a single
sheet of paper.

3 Remove the deckle and position a feather,

flowers, leaves, or any other small object that
you wish to laminate on top of the sheet.
PAPERMAKING

THE COMPLETED EMBEDDED SHEET

The scope for experimentation with this technique
is vast, since multitude combinations of interesting
EMBEDDING TECHNIQUES:
and diverse inclusions can be tried.
INCLUSIONS

Seeds, dried flowers,

sequins, confetti, tea
leaves, threads, and other
small additions— even
scented oils that can be
smelt but not seen—
can be added to the vat
prior to pulling a sheet.

EMBOSSING TECHNIQUES

It is possible to use embossing techniques

with plant-fiber papers, however the most
satisfactory results are achieved using recycled 2 Carefully lift up each object, using a knife if
paper. The technique requires a thick sheet necessary to avoid marking the sheet with
of paper, so increase the ratio of pulp to water fingerprints. Hang the sheet up to dry.
in the vat.

1 Empty the inclusions into the vat and stir well

to ensure they are evenly distributed.

1 Pull, couch, and lightly press a thick sheet of 3 To emboss using a press, position the
paper. Lay objects with transferable textures embossing objects and cover the sheet with
on the sheet and press each one down onto the several felts and a few pieces of blanket. Press
paper as hard as possible. as usual but try not to apply too much pressure,
since the embossing objects could go right
through the paper. Remove the objects before
hanging the sheet up to dry.

2 Pull a sheet and give the mold and deckle

a strong shake from side to side to disperse
the inclusions across the surface of the sheet.
THE COMPLETED EMBOSSED SHEE.TS
Couch and press, and dry on a smooth surface.
Found objects such as keys, shoe prints,
lace or woven fabrics, or anything with
an interesting texture can make an
impression on your handmade paper.
Electrical wire is a useful material since
it can be bent into any shape.
 DECORATIVE TECHNIQUES

PAINTING WITH PULP

Applying pulp with a turkey baster takes
practice. You do not want to squeeze the pulp
out too quickly since it may blow away the pulp
you have already applied, or part of the sheet on
the mold. You may like to try out the technique
on a sheet of dry scrap paper first.
The colored pulp also needs to be quite dilute
so that it can be sucked up into the baster
without getting stuck. Test the concentration of
pulp with the baster and add water to the vat as
necessary until you hit on the correct ratio.
2 Draw a dyed, diluted pulp into the turkey 3 Carefully lift the cutters away from the mold
baster. Position the baster over a cutter and and couch the sheet. You will see the underside
gently squeeze to allow the pulp to come out. of the sheet with the colored shapes showing
Move the baster around the outside of the shape through. Lightly press and dry on a smooth
as you squeeze, then fill in the center. Repeat surface.
with the other cutters and colors of pulp.

THE COMPLETED PULP-

PAINTED SHEET

This technique gives an

attractive, delicate effect.

1 Place a mold with a pulled sheet over a

shallow tray to catch excess water. Position
cookie cutters or similar on the sheet, taking
care not to press them down too firmly; they
should just rest on the surface
PAPERMAKING

PAPERMAKING RECYCLED PAPER SAMPLERS

I

Different processing times on recycled paper pulp produce varying results

RECIPES in the end paper. The longer the pulp is blended, the smoother the final
paper sheets will be, and if you are using printed paper, as here, the print
will be visible in varying degrees. Experiment with your blender to
WHILE EXPERIMENTING WITH produce the paper texture of your choice.

PAPERMAKING IS AN EXCITING

AND CREATIVE PROCESS, A LITTLE

SMOOTH RECYCLED MEDIUM RECYCLED LIGHTLY CHUNKY HEAVILY CHUNKY
BACKGROUND KNOWLEDGE OF CERTAIN
PAPER (A) PAPER IB) RECYCLED PAPER (C) RECYCLED PAPER ID)
TECHNIQUES AND COMBINATIONS THAT
• Recycled paper • Recycled paper • Recycled paper • Recycled paper
HAVE PROVED SUCCESSFUL IN THE • Water • Water • Water • Water
PAST CAN ONLY BENEFIT THE NOVICE

PAPERMAKER. 1 Soak the paper in 1 Soak the paper in 1 Soak the paper in 1 Soak the paper in
water and process in water and process in water and process in water and process in the
the blender for 20 the blender for 15 the blender for ten blender for five seconds.
RECIPES AND TECHNIQUES to 30 seconds, using seconds, using short seconds, using short 2 Rinse the pulp and
Following on from the techniques of short bursts of power. bursts of power. bursts of power. form sheets as usual.
papermaking discussed so far, the recipes 2 Rinse the pulp and 2 Rinse the pulp and 2 Rinse the pulp and The paper will be very
and decorative techniques featured over form sheets as usual. form sheets as usual. form sheets as usual. coarse with large
the next few pages have been tried and The paper will be The paper will be The paper will be portions of visible text.
tested, and illustrate the results you smooth with very light smooth with some more coarse and will
can expect to achieve if you follow the traces of ink. visible letters. feature some visible
pieces of text.
instructions given. These examples
provide an essential base of papermaking
experience from which you can develop
your own ideas and move forward.
Remember that these recipes should
be used in conjunction with the techniques
for making pulps, making the paper,
and drying sheets as detailed on
pages 144-151.

SEE ALSO

Making Pulp, pages 144-145

Making the Paper, pages 146-147
Pressing and Drying, page 148
Decorative Techniques, pages 149-151
 PAPERMAKING RECIPES

PAPER FROM HOME

Sources of recyclable paper are plentiful around the home. PIGMENTING PAPER
However, avoid using pages loaded with print, shredded Construction papers are loaded with pigment
paper, and Post-it notes, and look out for staples. and just a few pieces will effectively color
a batch of recycled paper pulp. Adjust the
blending times to determine the distribution of
color: long blending will produce a smooth, even
product, while short bursts will result in chunky
pieces and separate color within the base pulp.

Tissue paper responds much like construction

paper, except that it breaks down more easily,
therefore does not require presoaking to break
down the fibers, only to extract the dye.

COOL BLUE PAPER

• 4 torn sheets blue construction paper,

approximately 1 x 1-in. 12.5 x 2.5-cml pieces
• 2 cups (500mll water
• 1 cup recycled paper pulp

1 Soak the construction paper in the water

• I cup torn greetings cards, approximately • 1 cup torn brown paper bags, approximately for 10 to 15 minutes.
3 x 3-in. 18 x 8-cml pieces 3 x 3-in. 18 x 8-cml pieces 2 Add the soaked paper to the blender
• 2 cups 1500mlI water • 2 cups (500mll water containing the recycled paper pulp. Blend the
mixture for two to five seconds to achieve a
1 Soak the torn paper in the water for 15 to medium-flecked pulp. If a more even shade
1 Select cards of different colors to add interest
20 minutes.
is preferred, blend in longer bursts.
and contrast to the pulp. Soak the torn cards in
the water for 30 minutes, longer if the paper is 2 Place several pieces in the blender and 3 Form sheets as usual.
heavily coated. process for 30 seconds.
2 Blend half of the paper for 30 to 60 seconds, 3 Continue to blend, adding the remaining paper
or longer to create smooth pulp. until the mixture is smooth and creamy. Makes a
3 Add the remaining paper and lightly blend to lovely, light brown pulp.
produce chunks of color. 4 Rinse the pulp and form sheets as usual.
4 Rinse the pulp and form sheets as usual.
1

PROPORTIONAL MEASURING

While the metric equivalent of a cup is 250ml, when referring

to pulp the number of cups used in each recipe has not been
converted. To ensure consistency, the papermaker is advised
to use the same size vessel during the papermaking process,
since proportion is more relevant than weight or volume.
PAPERMAKING

CHERRY-FLECKED PAPER

• 2 torn sheets red construction paper,

approximately 1 x 1-in. (2.5 x 2. 5-cml pieces
• 1 torn sheet blue construction paper,
approximately 1 x 1-in. (2.5 x 2. 5-cml pieces
• 2 cups (500mll water PINK PIZAZZ

• 1 cup recycled paper pulp • 1 cup shredded fuchsia tissue paper

• 1 cup (250mll water %

1 Soak the construction paper in the water for • 'A cup recycled paper pulp
15 minutes. RAISED FLOWER

2 Place the soaked paper in the blender 1 Soak the tissue paper in the water for • 1 cup recycled paper pulp
containing the recycled paper pulp. Lightly ten minutes. • Chunky flower head
blend for five seconds. Make sure all the 2 Place the soaked paper and remaining water
construction paper is pulped, but it should in the blender with the recycled paper pulp. 1 Couch a base sheet of recycled paper pulp.
retain a chunky consistency. Process well for five to ten seconds to achieve 2 Place the flower head on the surface of the
3 Form sheets as usual. a smooth deep pink pulp. sheet. Couch another sheet of paper on top of

3 Form sheets as usual. the first.

3 To keep the three-dimensional look, do not

press or weigh the sheet down, simply leave it
EMBEDDING: LAMINATING to air dry.
By arranging decorative items on a freshly
couched sheet before laminating with a second
sheet you can create interesting patterns in
your paper.

CURLS

• 1 cup recycled paper pulp

• Embroidery thread, cut to different lengths

1 Couch a base sheet of pink recycled paper

pulp.
2 Arrange tiny curls of embroidery thread all
across the sheet in a design of your choice. '.jr—'';:
Couch a second, thin sheet of paper on top of
the first. FERN SURPRISE

3 Press and dry the sheet. The finished sheet • 1 cup recycled paper pulp
will be delicately patterned. • Fern fronds

1 Couch a base sheet of recycled paper pulp.

2 Position the fern fronds on the surface of the
sheet. Couch another sheet of paper on top of
the first.

3 Press and dry. Held up to the light, this sheet

reveals the treasures within.
 PAPERMAKING RECIPES

EMBEDDING: INCLUSIONS

Handmade papers with a sprinkling of colorful

petals or other attractive natural materials are
sought after and treasured. You can achieve
countless variations by mixing assorted
materials, following themes such as color,
EMBOSSING
shape, size, or plant family.
Embossing using everyday objects from
DEEP PETAL BLEND around the home allows you to give your
• 1 cup recycled paper pulp handmade paper a variety of different textures.
• Vzcup mix of deep red carnation petals and These textured sheets may be used for wall-
purple petals hangings, as book covers (see page 80), or as
artist's paper.

1 Add the recycled paper pulp to the vat, adding

water as necessary. PAPER CLIP-EMBOSSED MOTIF

2 Mix the petals together. Pour the petals into • 1 cup recycled paper pulp
the vat and blend into the pulp with a wire • Large paper clip
whisk, ensuring an even distribution of material.
3 Form sheets as usual. Any deeply pigmented 1 Couch a sheet of fresh

petals are likely to bleed into the pulp. paper.

2 Bend the paper clip to

the desired shape and
gently press it into the
damp sheet.
3 Protect the sheet as
necessary and weigh it
down. Leave to air dry
for 24 hours.
CINNAMON AND RAFFIA

• 1 cup recycled paper pulp 4 Remove the weight

• 2 teaspoons tIOmll cinnamon powder and make sure the sheet
is completely dry before
• Vzcup raffia, cut into long, thin pieces
carefully removing the
paper clip.
1 Add the recycled paper pulp to the vat, adding
water as necessary.
2 Mix the cinnamon and raffia strips with the
LEAF-EMBOSSED SHEET
pulp in the vat using a wire whisk.
3 Form sheets as usual. Produces a warm DRIED GERBERA DAISY • 7 cup recycled paper pulp
brown sheet with raffia accents. • 1 cup recycled paper pulp • Intact leaves

• Vecup dried gerbera daisy petals

1 Couch a sheet of fresh paper.

1 Add the recycled paper pulp to the vat, adding 2 Gently press the leaves into
water as necessary. the damp sheet in your chosen
2 Evenly mix the dried petals into the pulp using positions.
a wire whisk. 3 Protect the sheet as
necessary and weigh it down.
3 Form sheets as usual. Dried gerbera daisy
Leave for 24 hours to air dry.
petals take on a deep, intense color. Here,
the original deep orange has dried to a dark 4 Remove the weight and
rust color. ensure the sheet is completely
dry before carefully removing
the leaves.
 PAPERMAKING

EMBOSSED WITH A NONCOLORFAST RUG BRICK-EMBOSSED SHEET

• 7 cup recycled paper pulp • 1 cup recycled paper pulp

• Woven rug • House bricks

1 Couch a fresh sheet of paper directly onto 1 Couch a fresh sheet of paper directly onto
the rug. the bricks.
2 Protect the paper as necessary and leave to 2 Protect the paper as necessary before
air dry until damp. applying a weight and leaving for 24 hours to
3 While the paper is still a little damp, gently air dry.
peel it away from the rug. Dye is likely to bleed 3 Gently peel the dry sheet away from the bricks
into the paper, which can be very effective. and flatten the pattern edges with a warm iron. PAINTING WITH PULP

Using this technique you can "paint" pictures—

representational or abstract— with pulp.
Remember to dilute the pulps you are "painting"
with to give you more control over their use.
EMBOSSED WITH BUBBLE WRAP

• 1 cup recycled paper pulp

• Sheet of bubble wrap BLUE HEART

• 7 cuf) undyed recycled paper pulp

1 Couch a fresh sheet of paper directly onto the • 'A cup blue recycled paper pulp
bubble wrap. • Heart-shaped cookie cutter
2 Do not weigh down the paper sheet, since this
will burst the bubbles. Simply leave for 24 hours 1 Pull a fresh sheet of undyed paper and leave
to air dry. on the mold, over a shallow tray.
3 Carefully peel the dry sheet of paper 2 Dilute the blue pulp until it is the consistency
away from the bubble wrap to reveal the WIRE-HEART EMBOSSED MOTIF of cake mix batter.
honeycomb effect. • 1 cup pulp 3 Place the cookie cutter on the pulled sheet and
• Medium-gauge craft wire pour the blue pulp into it.
4 Carefully lift the cutter away from the sheet
1 Bend a piece of medium-gauge craft wire into and couch as usual. Protect and weigh down the
the desired shape, here a heart. sheet and leave to air dry completely.
2 Couch the sheet of paper onto the shape.
3 Protect the sheet as necessary and weigh it
down. Air dry.
4 When completely dry, peel the wire off the
paper, leaving the heart shape visible.
 PAPERMAKING RECIPES

PLANT PULPS

You can use almost any ordinary plant to make great paper. The nonfibrous
materials can be cooked without an alkaline solution, but the fibrous leaves
will require cooking with fireplace ashes, as described on page 147.

SCENE WITH FERNS

• 7 cup undyed recycled paper pulp

• 'A cup blue recycled paper pulp
• Fern fronds

1 Pull a fresh sheet of undyed paper and leave PURE CARROT TOPS IA) CARROT TOPS AND RECYLED PURE GRASS (C)

on the mold, over a shallow tray. • 1 cup carrot tops PAPER (B) • 7 cup cut grass
• Water • 1 cup recycled paper pulp • Water
2 Dilute the colored pulps and beat well until
each is the consistency of cake mix batter. • cup cooked carrot tops (see
3 Using a spoon, or brush for more detail, apply 1 Cook the carrot tops in • Pure Carrot TopsI 1 Cook the grass in water for
the colored pulps randomly to the sheet. water for one to two hours. one hour. Drain and rinse.
Position a few fern fronds and cover in places Drain and rinse. 1 Process the paper pulp and 2 Lightly process the cooked
with more pulp. 2 Transfer the cooked tops to cooked carrot tops in the grass in the blender for two
the blender and process for blender until well mixed. to three seconds.
4 When you are happy with the design, carefully
couch the sheet as usual. Protect and weigh five seconds. 2 Rinse the pulp and form 3 Rinse the pulp and form
down the sheet and leave to air dry completely. 3 Rinse the pulp and form sheets as usual. A flecked sheets as usual. Produces
sheets as usual. Makes lovely paper will result. fragrant sheets of paper.
dark green sheets.
INDEX
\

Figures in italics indicate captions. Headlamp 76 | decorative forms (paper ’ inside reverse fold (origami) 19
Out for a Walk 76 sculpture) 66-69 ) Irises 25
A butterfly keepsake box (quilling) drawing paper 8 j Irsara, Irma
98-101 Arrestarsi ai raggi nottumi 139
action designs [origami) 42-43 E
butterfly (origami) 35 Esperienze di colore 138
Aharoni, Gitad 15 In rima ai duscinetti d'uutunno 136
edge division (origami) 22—23
airmail paper 9 c egg stand (origami) 38-39
angle division (origami) 23 J
card-weight paper 8 embedding techniques
Ariel, Liat Binyamini: Magic J Jackson, Ellen
cartridge paper 8, 9 (papermaking) 149-150, 154-155
Pumpkins 137
collage 9, 120-127 embossing techniques Passion 102
armatures (paper sculpture) 70-71
composition 124-125 [papermaking) 150, 155-156 Pink/Black Royale 103
assembly [paper sculpture) 70
cutting and pasting 122-123 equilateral triangle 24 Surface Play 102
B history 121 etching papers 9 \ Jackson, Paul
balloon base (origami) 31-32 methods 121 Doodle Weave 107
I painted paper collage project F The Encyclopedia of Origami and
Bar Am, Anat
Greta Ithe Guardian Cat] 128 126-127 fine art paper 9 Papercraft 7
papers 121 fish base (origami) 34 Two Hands Twice 6
Tamashi Birds 132
bases (origami) 26-34 tools 121 five-module antiprisms Untitled 45
Binzinger, Evi: Blue Elephant 14 concertina book project 90-91 (origami) 40-41 Woven Pattern 106
bird base (origami) 28-29 cones (paper sculpture) 64-65 flapping bird (origami) 42 j Jedrzejewska, Joanna
Blackman, John: Barrel Cactus 28 j Coron, Beatrice Fletcher, Barbara: Whimsical Fish Creamy Bowl 129
blintz base [origami] 27 Balloon City 112 Lamps 137 Parrots 128
boat base (origami) 32-33 Sun City 114 flower base (origami) 30-31 i Johnson, Paul, Book 44
bone folder 14 couching 146, 147 folds, basic (origami) 18-21 | junk mail 9
book base (origami) 27 creasing by hand 12 functional designs (origami) 38—39
bookbinding 8, 76-91 cupboard base (origami) 27 K
adhesives 77 cut-score 13 G | Kirschenbaum, Marc: Rock Crab 26
binding materials 77 cutting Gannon, Patrick: The Golden Sea, It ! kite base (origami) 26
with a knife 13 Has Teeth 113
concertina book project 90-91
multisection binding 85-87 safe 13 geometric divisions (origami) 22-25 L
with scissors 13 giftwrap 8, 9, 15
papers 77 j laminating (papermaking) 149, 154
preparing the book block 78-79 | cylinders(papersculpture)64,65 | Golan, Miri: Untitled 14 ! leaflets 9
single-section binding 82-84 j gold leaf 135 j Lee, Bovey: The Bird That Thinks It's
soft and hard covers 80-81
D a Plane 113
stab binding 88-89 Davidson, Ann H lighting 69
bookbinding awl 76 Ceathramh Garbh, Ardmore, handmade papers 8, 9, 10, 135 Louie, Cecelia
boxes, pop-up 56-57 Sutherland 124 hexagon 24 Dragonfly 92
Brodskaya, Yulia A Gale in Strath Fleet, hungry crow (origami) 43 Heart 96
Havas Annual Report 92 Sutherland 122
Scent 93 Kylesku, Sutherland 120 I M
Brown, Hannah The Rocks of Loch Laxford, incised pop-ups 46-51 | medium-weight papers 9
Airplane 15 Sutherland 121 inclusions (papermaking) 150, 155 Miyajima, Noboru and Gilas Aharoni:
Flying High 78 i decorative designs (origami) 35-37 indenting (origami] 13 Cow 15
 INDEX

modular designs (origami) 40-41 cones and cylinders 64-65 Q V

mold and deckle sets J42. 143 decorative forms 66-69
quilling 9, 92-101 valley and mountain folds
Mukerji, Meenakshi: Stella 40 Nightfliqht project 72-75
applications 96-97 (origami) 18
multipiece pop-ups 52-55 papers 62, 63
butterfly keepsake box 98-101 varnishes 134
papermaking 9, 142-157
N equipment 93 vatman's tears (papermaking) 147
decorative techniques 149-151 history 93
newspapers 9 history 143 w
papers 93
Nightflight project (paper making the paper 146-147 shapes 94-95 "washi" papers 8, 15
sculpture) 72-75 making pulp 144-145 watercolor papers 8, 9
Nishinaka, Jeffrey papers 143 R weaving 9, 102-1 11
Golden Gate Bridge 69 pressing and drying 148 rabbit ear fold 20-21 designs 104-7
Preserve 62 recipes 152-157 recycled papers 9, 144, 152-153 history 103
special equipment 142, 143 Reimer-Epp, Heidi: Molded Bowl 143 methods 103
0
papier mache 9, 128-135 Rizk, Anne: Infinity Book 77 papers 102, 103
octagon longami) 25 casting from a found mold 130-131 rolling cylinders 11 woven paper bowl project 108-1 11
ongami 14-43 decorative ideas 134-135 Ross, John 92 Westing, Jemma
action designs 42-43 finishes 128 Invasive Species: The Lionfish! 45
bases 26-34 history 129 s Seed in the Wind 44
basic folds 18-21 methods 129 Sawatzky, Kathy: Notecards 143 Weston, Heather: Carousel Book 77
decorative designs 35-37 scoring (paper sculpture) 12, 66-68 Willitts, Anne
papers 129
functional designs 38-39 scrapbooking papers 8, 15 Bowl Selection 108
using other molds 132-133
geometric divisions 22-25 sealing (papier mache) 134 Newspaper Vase 103
Parker, Renee
history of 15 Shen, Philip: Dish 23 window hanging project, paper-cut
Drip 131
modular designs 40-41 Shlian, Matthew 118-119
Etruscan Spring 130
papers 8. 9. 15 Paper Scales 63 Winn, Nancy: Hare 129
Felix 134
symbols 16-17 Warped Stellation 63 writing paper 8, 9, 15
paste brushes 76
outside reverse fold (origami) 20 shredded paper 136
photocopy paper 8, 9, 15
picture frame (origami) 39 Siliakus, Ingrid
P Abstract 62
pigmenting paper 145, 153-154
paper Elevation Terracotta 10
plain papers 8
types 8-9 Innerrings 64
polygons [origami) 24-25
weights 9 Reflection on Sagrada Familia 68
paper bowl project, woven 108-1 11 pop-ups 8, 44-61
sink fold (origami) 21
paper cutting 9. 112-119 boxes 56-57 snail (origami) 36-37
history 113 history 45 spider project, pop-up 58-61
paper-cut window hanging project incised 46-51 squash fold (origami) 18-19
118-119 methods 45 stab binding 88-89
papers 113 multipiece 52-55
techniques 114-117 papers 45 T
paper grain 10-1 1 pop-up spider project 58-61 tabbing (paper sculpture) 70
paper pulping 9, 136-141 preliminary base (origami) 27-28 table decorations (origami) 38-39
applications 140-141 pulp Takacs, Erika
decoration 137 painting with 151, 156 Evolution 140
methods 137 pigmentation 145 Red Boots 136
papers 136, 137 plant 145, 157 textured surfaces 69
preparing the pulp 138-139 recycled 144 Thomas, Lizzie: Hidden Summer 113
paper sculpture 8, 62-75 tissue papers 9
assembly and armatures 70-71 translucent papers 9
CREDITS t

***M .

Quarto would like to thank the following artists for kindly supplying COMMISSIONED ARTISTS

images for inclusion in this book: Quarto would like the thank the following artists who supplied work
specially for the revised edition of this book:
Anat Taler-Bar Am p.128bl, 132 www.woodyloo.etsy.com
Ann Davidson p. 120—121b. 122b, 124bl Ayako Brodek p.1 6—43
Anne Rizk p.77bl Ayako Brodek founded OriCraft.com to bring her origami work to a
Anne Willitts p.103br, 108 wider audience. Ayako is the author of Origami Jewelry (Kodansha
Barbara Fletcher p.137t America, 2007).
Beatrice Coron p.112bl, 114bl
Bovey Lee p.1 13br Jemma Westing p.58-61
Cecelia Louie p.93br, 96b Jemma Westing is an interactive book designer, working for a range of
Ellen Jackson p.102bl/br, 103bl clients. To see more of her work, visit: www.jemmawesting.com.
Erika Takacs p.136, 140 (sp) www.erikatakacs.com
Evi Binzinger p.14t www.artrovertiert.de; photographer: Cecelia Louie p.92—101
Hubertus Schueler www.hubertus-schueler.de Cecelia Louie's first love is paper. She is a graduate of Emily Carr College
Gilad Aharoni p.1 5bl www.gitadorigami.com; designer: of Art and Design, Vancouver, BC. She works as a graphic designer and
Miyajima Noboru enjoys giving quilting a modern twist. To view more of her work, visit:
Hannah Brown p.15br, 76bl/br, 78 www.han-made.net www.craftingcrea tures. b tog spot. com.
Heather Weston p.77br
Heidi Reimer-Epp p.143br www.botanicalpaperworks.com Anne Willitts p.108-1 11
Ingrid Siliakus p.10, 62bl, 64bl, 68r http://ingrid-sitiakus.exto.org A dedicated maker, Anne Willitts has worked in a wide range of
Irma Irsara p.136bl, 138b, 139b www.oteary-irsara.com media, from spinning and weaving, through embroidery, to felting
Jeffrey Nishinaka p.62br, 69b www.jeffnishinaka.com and papermaking. She continues to experiment both with textiles and
Jemma Westing p.44br, 45br paper, bringing together her accumulated interests in mixed media
Joanna Jedrzejewska p.128br, 129bl www.papier-mache.eu and 3D installations. To see more of Anne's work, visit her website:
John Blackman p.28 www.annecreative.co.uk. '•
Kathy Sawatzky p.143bl
Liat Binyamini Ariel p.137 www.tiatart.com Lizzie Thomas p.1 18-1 19
Lizzie Thomas p.1 12tr http://tizziethomas.co.uk Lizzie Thomas is a paper artist particularly inspired by the use of paper
Marc Kirschenbaum p.26 http://origami.home.pipetine.com in Japanese cultural and spiritual life. For commissions please visit:
Matthew Shlian p.63bl/br www.mattshtian.com www.tizziethomas. co.uk.
Miri Golan p.14b photographer: Leonid Patrot-Kwitkowski, Eretz
Israet Museum Some of the material in this revised edition originally appeared in Paul
Nancy Winn p.1 29br www.nancywinnsundawg.com Jackson's Encyclopedia of Papercraft and Origami Techniques, also
Patrick Gannon p.1 13bl www.pgannon.com published as Artistry in Paper.
Paul Jackson p.6, 45bl, 106bl, 107br photographer p.6: Leonid Padrut-
Kwitkowski, Eretz Israet Museum; photographer p45bl, 106bt,
107br: David Birch
Paul Johnson p.44bl Alt step-by-step and other images are the copyright of Quarto Publishing pic. While every
Renee Parker p.1 30, 131, 134 www.reneezanceart.com effort has been made to credit contributors, Quarto would like to apologize should there
Yulia Brodskaya p.92bl, 93bl www.artyutia.com; photographer: John Ross have been any omissions or errors —and would be pleased to make the appropriate
correction for future editions of the book.
BCPL
Baltimore County
Public Library
 BALTIMORE COUNTY PURI 10 L BRARY

ORIGAMI PAPER CUTTING

A complete guide to exquisite papercraft techniques-

from uniquely textured handmade paper to intricate
folded origami and graphic paper cut-outs.

This comprehensive collection of techniques is full

of beautiful examples collected from artists around
the world — plus clear instructions and step-by-step
photographs and diagrams.
PULPING

Includes projects to help inspire you and invite you

to put theory into practice.

Contributing author (origami): Ayako Brodek founded

OriCraft.com to bring her origami work to a wider audience
Ayako is the author of Origami Jewelry.

Editor: Claire Waite Brown has been editing practical art

and craft books since graduating with an arts degree in 1993
She has worked with many artists covering a wealth of
subjects including papermaking and bookbinding.

? 780762 440870'
O
Printed in China