PAPER MARBLING - PASTE PAPERS - MODULAR ORIGAMI - HANDMADE PAPER - PAPER MACHE
THE PAPER ISSUE!
PASTE PAPER
THE ART OF THE SWIRL
O RI
Issue 44 Spring 2020 $4.99
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BETWEEN THE FOLDS
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ORIGAMI
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A RT S U P P L I E S
Sam Flax. Making your habit possible.
www.samflax.com
Spring 2020 - Craftologie - 1
C O N T E N T S
05 STUDIO PEEK FEATURED ARTIST 06 Kate ShawPoured Out Landscapes
NECESSARY INDULGENCES 08 Irressistable Treats for Crafters
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HISTORY LESSON 10 OrigamiBetween the Folds
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15 DEEP DIVE TECHNIQUE 16 Paste PaperPoor Man’s Marbled Paper
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PROCESS DEEP DIVE 18 MarblingThe Art of the Swirl BONUS PROJECT 20 Origami Butterflies Instructions and Feature and Paper Design
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CONTRIBUTORS
THE TEAM TODD T URIN A Publisher H ELEN C R A IG Editor
P E A RL KIM ‘Between the Folds’
S U NNY JAMES ‘Paste Paper’
Origami ninja of the highest order. French bulldog mom.
Craft engineer extraordinaire. Eats and breathes bricolage.
JA N N O M C LAU G H LIN Creative Director JULIE C R E U S Art Director MARY JAN E J ON E S Marketing Director LIN DA S. BE ATY Senior Account Executive SUSAN MULLIN S Account Executive
J E NNA OCHOA ‘Poured Out Landscapes’
JAMI E LI N ‘Marbling, Art of the Swirl’
Marbled paper collector, studio artist, green tea guzzler.
Master joke teller. Fashion icon of our office. Craft book addict.
MELISSA TC H E N Advertiing Services Coordinator R ITA BARN E S Rita Barnes C H R I S T I A N K N I G H T LY Marketing Assistant _________________________________________
Z ACH T IM M ERS ‘Necessary Indulgences’
PA M JACKSON ‘Bonus Project’
Co-owner of Sam Flax art supplies. Copic marker hoarder.
Craft afficionado, game show lover, coffee guzzler.
WITH
THANKS
TO
Our faithful readers who supply us with the endless inspiration and curiousity that fuel our beloved magazine.
ISSUE 44 | SPRING 2020
CRAFTOLOGIE MAGAZINE is published quarterly by Valencia College Publications in coordination with Valencia’s Marketing and Strategic Communications Division for approximately 46 cents an issue. Opinions expressed in this magazine do not necessarily reflect the official position of Valencia College. Valencia College provides equal opportunities and employment to all. Contact the Office of Human Resources and Diversity for information.
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P U B L I C AT I O N S
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STUDIO PEEK INTO THE WORLD OF EXTREME CRAFTERS ...
06 | Artist Kate Shaw Poured Landscapes 08 | Necessary Indulgences 10 | Secrets of Origami Masters
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FEATURED ARTIST
POURE
Kate Sha w
‘Skyline’ 201 8 by
SCAPES natural phenomena such as lava, landslides, or avalanches.” The techniques Shaw is using to create her wonderful works are pretty unique: first, she makes sheet after sheet of her own marbled papers using acrylic paint. She lets the designs form rather organically; then once the paint is dry, she looks for shapes such as tree branches, cliffs or mountains within these abstract forms to cut and reassemble. The assemblage is finished with airbrushing.
The outcome are collages that remind one of natural landscapes, but still giving you the surreal sensation the ‘this is not from this world’. Her painted collages reinterpret landscape painting. The paintings deal with the Shaw has been focusing on on nature and landscapes as tensions and dichotomies in the depiction of the natuher subjects for many years She states that a visit to Central Australia in 2004 really helped coalesce ideas about the ral world and our relationship to it. “I am concurrently exploring the sublime in nature whilst imbuing a sense materiality of paint and how this could connect with the material world through landscape. “The sedimentary layers of toxicity and artificiality in this depiction. My intention is to reflect upon the contradiction between our inherent of rocks literally looked like the paint I was playing around with in my studio, and it started from there. I found that the connection to the natural world and persistant, continual distancing from it. movement of paint, when it is poured, resembles Kate Shaw is from Melbourne and earned a BFA at RMIT University in 1994. In 2011, Shaw was part of the New Psychedelia exhibition at the University of Queensland and featured at KIAF International in Seoul, Korea. Her work has been exhibited extensively worldwide. Her work can be found at www.kateshaw.org.
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Courtesy of KateShaw.com
ustralian artist Kate Shaw gets creative at the juncture of art and activism in this series of abstract landscape paintings. By juxtaposing her forms through the spontaneity of paint drippings and swirls, her art mimics the fabric of nature itself. This detail is an intentional one as Kate takes aim at the increasingly toxic state of our environment and our conflictive relationship with nature itself. Kate describes how her work helps her resolve and make sense of a senseless world: “My practice aims to convey ideas of nature, alchemy and cycles of creation and destruction.
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A RT S U P P L I E S
Sam Flax. Making your habit possible.
www.samflax.com
NECESSARY INCULGENCES
GETCHOO SOME. Irresistable treats for the distinguishing crafter:
Washi paper assortment. 24 sheets $9 www.yuzo.com
Precut quiliing strips in assorted colors, packs of 1000. $9 www.quillingarts.com
Thai marbled gift bag assortment $19 www.papersource.com The most exquisite paper flower craft book $24 www.amazon.com
Jaquard paper marbling kit $89 www.dharmatrading.com
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Decoupage scissors $13 www.yuza.com
r e t h g u a l y a s They . e n i c i d e m t s e b e h t is ) : s e i l p p u s t r a y l l a u er h t a c M e a s i l s -E It’ ainter P
A RT S U P P L I E S
Sam Flax. Making your habit possible.
www.samflax.com
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BETWEEN
HISTORY LESSON Complex butterfly made of identical individual origami units. This technique is called ‘modular origami’ and has become immensely popular due to its easy construction and limitless subject matter.
THE FOLDS
The Origins of Origami -Alexa Bailey Spring 2020 - Craftologie - 11
o ri gà mi
Origins Origami, (from ori meaning “folding”, and kami meaning “paper” ) is the art of paper folding, which is often associated with Japanese culture. The goal is to transform a flat square sheet of paper into a finished sculpture through folding and sculpting techniques. Modern origami practitioners generally discourage the use of cuts, glue, or markings on the paper.
Early Days In Japan, the earliest unambiguous reference to a paper model is in a short poem by Ihara Saikaku in 1680 which mentions a traditional butterfly design* used during Shinto weddings. Origami graced many types of ceremonial functions in the Edo period ofJapanese culture; noshi were attached to gifts, much like greeting cards are used today. This developed into a form of entertainment; the first two instructional books published in Japan are clearly recreational.
Outside Influences When Japan opened its borders in the 1860s, as part of a modernization strategy, they imported Froebel’s Kindergarten system—and with it, 12
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German ideas about paper folding. This included the ban on cuts, and the starting shape of a bicolored square. These ideas, and some of the European folding repertoire, were integrated into the Japanese tradition. Before this, traditional Japanese sources use a variety of starting shapes, often had cuts; and if they had color or markings, these were added after the model was folded.
How it’s Done It is common to fold using a flat surface, but some folders like doing it in the air with no tools, especially when displaying the folding. Many folders believe that no tool should be used when folding. However a couple of tools can help especially with the more complex models. For instance a bone folder allows sharp creases to be made in the paper easily, paper clips can act as extra pairs of fingers, and tweezers can be used to make small folds. When making complex models from origami crease patterns, it can help to use a ruler and ballpoint embosser to score the creases.
Renaissance In the early 1900s, Akira Yoshizawa, Kosho Uchiyama, and others began creating and recording original origami works. Akira Yoshizawa in particular was responsible for a number of innovations, such as wet-folding and the Yoshizawa-Randlett diagramming system, and his work inspired a renaissance of the art form.
During the 1980s a number of folders started systematically studying the mathematical properties of folded forms, which led to a rapid increase in the complexity of origami models. This gave rise to Technical origami, known in Japanese as origami sekkei, an origami design approach in which the model is conceived as an engineered crease pattern, rather than developed through trial-and-error. With advances in origami mathematics, the basic structure of a new origami model can be theoretically plotted out on paper before any actual folding even occurs! This method of origami allows for the creation of extremely complex multilimbed models such as many-legged centipedes, human figures with a full complement of fingers and toes, and the like.
Types of Paper Used Origami paper, often referred to as “kami” (Japanese for paper), is sold in prepackaged squares of various sizes ranging from 2.5 cm (1 in) to 25 cm (10 in) or more. It is commonly colored on one side and white on the other; however, dual colored and patterned versions exist and can be used effectively for color-changed models. “Washi” is the traditional origami paper used in Japan. Washi is generally tougher than ordinary paper made from mulberry tree
Shown here is a school of koi fish made in the ‘wet folding technique’ made popular by Akira Yoshizawa.
All photos for this article courtesy of OrigamiArts.com
*Can’t get enough origami? Check out our butterfly project at the end of this issue!
Akira Yoshizawa Creator of origami diagram standards, as well as the ‘wet folding’ technique shown here with this playful school of colorful koi fish.
...‘Origins of Origami’ continued
TThe strings of ‘lucky stars’ in the background of this page are examples of strip origami.
TYPES OF ORIGAMI Action Origami Action origami includes origami that flies, requires inflation to complete, or, when complete, uses the kinetic energy of a person’s hands, applied at a certain region on the model, to move another flap or limb.
Modular Origami Modular origami consists of putting a number of identical pieces together to form a complete model. Normally the individual pieces are simple but the final assembly may be tricky. Many of the modular origami models are decorative folding balls like kusudama, the technique differs though in that kusudama allows the pieces to be put together using thread or glue. Chinese paper folding includes
a style called Golden Venture Folding, where large numbers of pieces are put together to make elaborate models. It is most commonly known as “3D origami.”
Wet-Folding is an origami technique for producing models with gentle curves rather than geometric straight folds and flat surfaces. The paper is dampened so it can be molded easily. It produces very natural looking animal models.
connect molecules such as twist folds together in a repeating fashion. During the 1960s, Shuzo Fujimoto was the first to explore twist fold tessellations in any systematic way, coming up with dozens of patterns and establishing the genre in the origami mainstream.
Strip Folding Strip folding is a combination of paper folding and paper weaving. A common example of strip folding is called the Lucky Star.
Origami Tessellation is a branch that has grown in popularity after 2000. A tessellation is a collection of figures filling a plane with no gaps or overlaps. In origami tessellations, pleats are used to
MoneyGami Paper money from various countries is also popular to create origami with; this is known variously as Orikane, DollarGami, and MoneyGami.
This flower is an example of 3D, or modular origami. It is made of 950 identical units.
DEEP DIVE INTO THE WORLD OF EXTREME CRAFTING ...
16 | Paste Papers 18 | Marbling 12 | Bonus Project
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PROCESS DEEP DIVE
A BRIEF HISTORY OF THE ART OF THE SWIRL
THE ART OF MARBLING PAPER is ancient. Unfortunately, like many historical facts involving paper, no one is exactly sure how old it is- paper doesn’t tolerate the ravages of time like stone or metal. However, historians agree that the technique of marbling has been making paper exceptionally beautiful since 10th century Japan. The first forms of marbling were called Suminagashi, or “ink floating”. Delicate, swirled patterns were produced on paper when colors of ink were floated on the surface of water. The artist would then blow gently on the surface of the water to produce smoke-like patterns, and transfer them to paper. During the 15th century, a type of marbling called Ebru, or “cloud art”, was practiced in the Ottman Empire. Instead of floating inks
on the water, they used paints made of oil or gouache. In order to float these heavier paints, they added a thickened medium called size to the water before they began marbling. The addition of size kept the inks from sinking and gave the marbler more control over the creation of patterns. After the paint was dropped into the water, a feather, stylus or comb was used to create intricate patterns and effects. (Another difference was the process of coating the paper with alum, which allowed the paper to be rinsed after and retain its marbled pattern.) Early in its history, marbled paper was used for important documents. Marbling always creates a one-of-akind monograph. Even if the exact same process was used, variations in the water, the artist’s hand movements, even the dust particles in the air
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prevent an exact duplicate. As such, marbled paper was used to prevent forgeries and erasure. As the business of book binding took off, marbling was also used on the edges of ledgers. Theoretically, if a single leaf of the ledger was taken, the pattern would be disrupted. The art of marbling spread throughout Europe and by the 17th century, England, France, Germany, Holland, and Italy produced marbled papers. However, few people knew how to marble paper and marblers were reluctant to share their knowledge. Various formulas and marbling techniques became guarded secrets. As demand for marbled paper grew, marble guilds were introduced. Master marblers trained apprentices in the various techniques, being careful not to share secret formulas and proprietary methods.
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By Kimberly Hawkins
English bookbinders were not familiar with the techniques of paper marbling so they imported marbled paper from Holland and Germany. However, the English were reluctant to pay taxes on the paper, so the clever Dutch disguised it as wrapping paper for toys that were shipped to England. Although it may have been time consuming, the English book binders pressed the wrinkled sheets of paper in order to use them as endpaper for cherished books.
published ‘Marbler, or the Mystery Unfolded: Showing How Every Bookbinder May Become a Marbler. ‘In 1894, ‘The Progress of the Marbling Art,’ written by Joseph Halfer, was printed in America. It gained a large, enthusiastic following because it simplified the art of paper marbling. Unfortunately, hand binders were replaced by machines paper marbling
So many things can affect the final result — the temperature of the water or the room, the density of the paint. Our society is confronting the limits of industrialization and mass production. So whether it’s in food, textiles or art, people want that return to a human dimension. Though the process is exacting, the goal isn’t perfection but personality. Indeed, signs of the artist’s hand are at the veryheart of marbling’s appeal and universal love.
All Photos Courtesy of MarbleArts.com
Though the process is exacting, the goal isn’t perfection, but personality.
In 1853, an English master marbler, Charles Woolnough, revealed the secrets of paper marbling in his book The Art of Marbling. This angered the community of master marblers because it revealed the secrets of the trade. However, once the secrets of paper marbling were made known, his principal rival, James Sumner,
became an obscure art for a time Thankfully, today the craft is being embraced — and revolutionized It’s stood the test of time because it appeals to an intelligent eye. Traditional patterns are still being used and tweaked, including the fanned “peacock,” the splattered amoeba-shaped “Turkish spot,” the spiraling “French curl” and the Carrara-like “Italian.”
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BONUS PROJECT
PASTE PAPER AKA: The Poor Man’s Marbled Paper. We think not!
P
aste paper, which was been produced since the late sixteenth century for book end papers, was made from pigments mixed with paste, and an endless variety of patterns could be achieved by manipulating the wet paste. The use of paste paper designs on book covers and inside pages has been in practice since as early as the 17th century. It is one of the oldest decorated papers used by bookbinders, and can be found in books that are centuries old. Going back hundreds of years, bookbinders would use up their leftover bookbinding paste by throwing some pigment into the paste and brushing it out on some paper to make decorative papers to then use in bookbinding. They would make strokes or stipple patterns with a brush in the paste, or use tools to draw or comb designs in the paper and let it dry. Unlike marbling, this technique could be used by less skilled book binders, yet it is no less
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charming the former. One of the distinctive qualities of paste paper is the rich 3dimensional patterns and designs. This is achieved because when the paste is first applied to the paper and a pattern made in the paste, it is thick, with peaks and valleys. As the paper dries, the paste is sucked flat into the paper, leaving a 3-dimensional pattern on a 2-dimensional surface. Paste paper became popular here in North America during the 18th and19th century. If you or someone you know is a collector of old books, no doubt you will be pleasantly surprised to see the beautiful patterns of swirled designs on the cover of a book or as end papers inside of a book. Fast forward to the present- paste papers have had a resurgence among contemporary artists using the techniques to create a variety of additional art forms in an endless variety of applications, including decorative covering for boxes, frames, journals,vstationery and collages. The most famous
of which is Eric Carle, author and illustrator, who created paste paper designs on tissue paper. His highly colorful patterned papers were cut and collaged to create the illustrations in the world reknowned, classic book, “The Very Hungry Caterpillar” and others. Ready to try your own hand at paste papers? Check out the utterly simple formula below.
PASTE PAPER: • • • • •
Liquid starch Acrylic paints Glossy card stock Wide paint brush Assorted tool
1.
Mix 3 parts liquid starch to 1 part paint.
2.
Apply thick layer to cardstock.
3.
Manipulate with tools.
4.
Let dry thoroughly.
If you would like to learn more about the history of origami, see page 12 of this issue.
These butterflies were traditionally made for weddings back in japan’s Edo period. Simply cut out the square here and follow the instructions above. Make sure to keep the patterned side of the paper showing on the right side of your work.
TRY YOUR HAD AT MAKING AN ORIGAMI BUTTERFLY
BUTTERFLY
BONUS PROJECT
ORIGAMI
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hotos Courtesy of MarbleArts.com
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