Lynn Sures was very helpful in demonstrating how to get the pigmentation just right to achieve the travertine marble effect on the white cotton paper bear. Also, on the bear's back notice the three 'veins' of kozo positioned in the mold before the pulp was added, plus the addition of straw created interesting scoring marks on the pulp. After painting the 'heartline' (symbol of 'life force') turquoise and coating the paper with mat medium for some shine, it takes on the characteristics of polished stone. Beads for the medicine bundle were sculpted from paper clay and painted. Then on to the background symbol which is a sculpted foam circle (1" x 12")  on which the bear will be centered. The foam is covered with four handmade papers with the traditional Zuni colors of turquoise, coral, white and black. Insertions in the white paper provide the effect  of marble. All the seams are neatly covered by the black inset pieces.

The medicine bundle is becoming much deeper than expected and the feathers will prevent a shadow box frame. Natural feathers and a cylindrical cone shaped shell will add interest to the top of the bear. It is usually tied on the bear's back with cord that laces between the bear's legs. The bear's healing powers are invoked during the owner's 'life's transitional times' and the 'medicine bundle' provides healing powers to the owner.

The background frame is sculpted styrofoam covered with multi-layers of hademade paper to create a stylized leather bear skin. The Zuni symbol is inset for a completed piece.

   Fish Paper Light Sculpture  - In the style of Frank Gehry

Chicken wire is sculpted like a fish body and then dipped into Abaca pulp. The coral base conceals the light fixture and is made of 'Gutter Guard' and will be covered with 'Celluclay' and hardened with Paverpol. The coral branches (floral wire)are covered in paper clay and are painted coral red to simulate actual 'soft red coral' (with white tips). 

The fish body is covered with a suminigashi (marblized paper) positioned to take best advantage of the gold swirl in the paper. The chicken wire allows light to penetrate only in the 'non-papered' area, creating interesting shadows. The contrast between the blue/green/gold paper and the red coral is striking. The dimmer switch allows the 40 watt bulb to be adjusted for best effect.

   Yet another ...calla lily blossom

  This was an experiment to see how the Abaca would adhere to the hardware cloth. I dipped it from the back so the front would remain smooth. I applied a white soft Unyru paper from Thailand to the blossom and a yellow paper to the pistol. A small 6 watt bulb is attached to a small socket at the base so it will glow through the yellow pistol. A hook at the back allows for a wall mounting so it can be used as a sconce.

   Cast Cabbage Leaves

This cabbage leaf sculpture is actually cast directly from cabbage leaves. The real cabbage leaf is positioned on a balloon so it will keep its curve. Then white paper is applied in multiple layers on the leaf. A diluted solution of Paverpol is applied to each layer of paper (about four or five layers). Once the leaves are dry, a thin layer of acrylic wash paint is applied to the inside only. The veins of the leaf are not painted so it lets more light through. Then a coat of mat finish varnish is coated on each leaf. These leaves are mounted on a lamp base with a forty watt bulb so the painted side glows from the inside, while the outside of the sculpture remains white when not lighted. 

    Abstract Paper Light Sculpture

The light sculpture is my first abstract using Paverpol. The wirebase is covered with paper and sculpted to look like a piece of driftwood, and is lighted for dramatic effect.

    Calla lily

Now that I know that I can sculpt a shape and have the paper harden to that shape (by using Papverpol), I have created a five foot wire mesh frame of a Calla lily. After the wire mesh is sculpted, it is then covered in 'uninked' newprint with wallpaper paste. Then sections of the mold are 'shrinked wrapped' in plastic since Paverpol will not stick to plastic. A hair dryed is used to tighten the (basket wrapping) plastic. Then the colored paper and Paverpol is applied in multiple layers. Once dry, the paper is slipped off the mold and the plastic removed. You can see in the photos above I have created both the pistol and the stem. The hummingbird will be attached to the flower once everything is completely assembled. Paper clay was used for the bird body and colored paper will be applied for color and detail.

Please return soon to see how the entire flower will be assembled.

   Painting Mandarin characters with pulp

The Mandarin calligraphic symbols are stylized from ancient Mandarin master calligraphers or chinese engravings. They are not painted, as in traditional calligraphy, but are actually formed in pulp and incorporated into a single piece of abaca paper. The symbol is drawn in reverse on a piece of pellon (felt like material). Red pulp paper is then formed on the pellon. The pulp is then transposed on to the wet white abaca paper, and when pressed, becomes part of the paper itself. The deckle edge ( a slighly ragged edge) is formed by the 'deckle' in the paper making process.

    Paper Castings

The Mayan glyph is taken from the Temple of inscriptions in Palenque - Chiapas, Mexico. The ancient Mayan ruler - Pakal (615 - 683 AD) is buried in the temple and the glyphs tell of his exploits. The glyph is created using a plaster mold, and the paper is cast in the mold.

The mold is created first by carving the glyph in clay then taking a plaster mold of the carving. Once the reverse image is cleaned, the paper is pigmented and cast in the mold. Green pigment was use to mimic the stucco on the temple walls. Red or cinnabar was also used in the Mayan culture.

    Paper Sculpting with foam

Other pieces are create using foam sculptures on which the paper is cast. The foam (simply home insulation foam) is glued together to acheive the desired thinkness (make sure you use foam glue like 'foamtastic' as other glues breakdown the foam) and sculpted with a hot wire and a rasp. Once the foam is sanded smooth with fine sand paper, muslin cloth is attached to the foam to allow the paper to be removed when dry. The paper is pigmented and applied. Once the paper is dry, it is coated with many applications of Paverpol to harden the paper.

    Lion Fish Paper Light Sculpture

The Lion Fish lamp starts with a 'Google images' search of photos of a Lion fish and coral. Then a rough sketch provides the basic dimensions for the sculpture. Next, a wire form is created from aluminum wire mesh (gutter guard). The pieces of wire mesh are 'stiched' together using a small gauge floral wire. The basic shape is now ready for paper to be applied. Once the base coat of paper is dry, detail shaping is sculpted with 'paper clay.' The fins are sketched and wire frames are made of straight stem floral wire.  Colored paper is then applied to the fin frame, which is coated with matte medium before attaching to the fish body. The electrical is built into a coral wire base that is sculpted and covered with paper mache and painted. The final coloring is accomplished by applying colored paper to integrate all the seperate components. The interal area of the fish is sprayed with a flame retardant. ('Turning Star' Inc.  makes a clear, oderless flame retardant spray specifically for paper.) Once complete, the sculpture is coated with multiple coats of 'matte' medium for strength and durability. Finally a long life, low wattage (7w) cool floresent bulb is used to illuminate the lamp and limit the possibility of overheating. (These bulbs are expensive but are worth the peace of mind.)

    Hermit Crab Light Sculpture  (First sculpture using cotton fabric and 'Paverpol' from the Netherlands)

The Hermit Crab again starts with a couple of photos to provide scale and color scheme. The shell is wire mesh and the crab itself is constructed of 'paper clay'. The base is celluclay with an electric socket for a 7 watt night light. This night light will illuminate the paper shell and give a glow around the crab itself. The claws are painted, in this case, to allow for a stiple effect, rather than a single color. The claws are attached to the wire mesh shell with the internal appature wire of each claw. The attachment points are reenforced with a rim of paper clay for support and to lock the claws in place. Once the shell is covered in paper all of the attachment wires will be totally concealed. This will give the impression of the crab emerging from the shell rather than being attached to it. The finished shell is decorated with colored paper to allow for transparency. Then the shell is covered with marblized fabric soaked in 'Paverpol'. Once the hardener dries, then a gloss varnish (since shells are shiny) can be applied for durability. The interior is then sprayed with a flame redardant for safety. The base is painted a sand color and shells are glued in place. Felt is applied to the bottom to prevent scratching and provide a more finshed presentation.

Paper Sculpting of a Cherry Blossom      Here are images to help explain how a cherry blossom is constructed out of paper.

Each leaf is formed with wire and colored tissue paper is glued to the wire using wallpaper paste. Multiple coats are required to build up the various colors and textures. Individual stems, leaves, and branches are likewise constructed with wire and colored paper. Once completed, the entire piece is assembled and varnished. 

Casting a Goldfish Light Sculpture       Here are some images of the paper casting process.   Once a rough sketch is made to establish size and basic configuration, the foam body is cut from insulation foam. A basic shape is cut with a hot wire tool then glued to similar pieces to achieve the desired thinkness. The foam is then formed and sanded into a mold to which the paper can be applied. A piece of muslin cloth is attached before the paper pulp is  applied to coat the mold. Once dry, the cloth is pulled off and the paper is then coated with mat medium to harden the cast. The molded paper can be then mounted around a light fixture. Once the fins are added, additional colored paper is applied for highlights. And finally, paper seaweed to added to cover the base. The finished lamp is varnished for strength and durability.

 

          

  

         

 

      Paper Casting of embossed characters

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 Here are some images explaining how characters are carved in foam and embossed in paper then painted. 

 

    

 

Here are some images of how characters are carved in clay then a latex mold is made with "Mold Builder" (Castin' Craft) and once embossed in the paper is painted with acrylic paint.