Date: Fri, 2 Jan 2009 20:44:59 -0800
From: "Randy Ross" <gloreeeah-AT-gmail.com>
To: puptcrit-AT-puptcrit.org
Subject: Re: [Puptcrit] Paper mache update


there is an instructor at teh banff centre of the arts who knows alot aobut
paper clay.

xo
randy
carnival sized cinnamon hearts


On Fri, Jan 2, 2009 at 1:27 PM, Mathieu René <creaturiste-AT-primus.ca> wrote:

>
> Today I gave a consultation to attest what techniques a future student in
> paper mache would need from my array of techniques.
>
> He showed me his first works, which were remarkable for such a freshly
> self-taught non-artist (in the sense that Art is not his career, nor in his
> past studies). His project is motivating and he is driven, so I'll be glad
> to help. He certainly starts his paper mache endeavours with years ahead of
> what I was when I first started.
>
> Then he showed me works by a contemporary artist I never heard about except
> from him.
> She makes animal figures out of paper pulp. They look amazing.
> Unfortunately, I can't remember her name, and the only website that shows
> her work only has small bad quality pictures of some of her inferior works,
> giving you no idea how good she really is.
> When I saw her better work in person, I was blown away, and my opinion
> changed drastically.
>
> Anyways, I carefully examined four animal figures from her (two sheep, a
> pig
> and a cow) and deducted a few useful things. Please bare in mind that the
> following are deductions based on my own extensive experience with the same
> materials. What I propose is completely feasible as described and will
> yield
> about the same visual results, but may be different from her actual way of
> working.
>
> She probably uses a rag-based pulp (probably cotton) and white glue. If she
> starts from cotton paper sheets, she probably briefly shreds small pieces
> of
> it in the blender, for a few seconds.
> Once strained of the escess water (leaving some, to allow for the glue to
> penetrate, and for the whole dough to be malleable). The paint job is very
> very subtle, most probably a little bit of acrylic paint mixed in with the
> white glue and some water, applied as a subtle wash. No apparent brush
> mark.
> The finished figures look like they have a wax finish (the trained eye can
> tell it's white glue, and so can the trained fingers, by the tackyness). I
> dont think there was any spray fixative over it (which I would recommend to
> add, to protect against moisture, when owners clean the figure).
>
> Some figures have wire armature, at least I can confirm for the legs (I've
> seen a tip). One bigger figure suggests, by the sculpted forms and weight,
> that it probably is a well-carved styrofoam core, covered in the pulp.  The
> pulp is at least an sixteenth of an inch thick, especially for the legs. It
> feels very strong.
>
> For her sheep, she lets the pulp become lumpy as she mixes it, and uses
> that
> for simulating the wool.
> There's so much glue in it, the lumps harden and are quite strong. One lump
> was protruding too much, and was lacking glue, so it was broken off when I
> saw that sheep. Which allowed me to see and feel what kind of pulp was
> inside. A dab of white glue allowed my student to fix it quickly and
> seamlessly.
>
> I'm very excited about this. It's been a while since I've seen, in person,
> such a direct and smart use of the raw textures of paper pulp, in total
> control, and in good choice. The contrast between the smooth pulp areas and
> the furry pulp areas is really wonderful, and totally applicable to puppet
> work.
>
> I don't have time right now, but I intend to try this technique, and when I
> do, you can be sure I'll post something about it, with pics (of my own
> attempts), on my lab blog, and let Puptcritters know about it.
>
>
>
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>



-- 
with love and affection
edith gloria hole
carnival sized cinnamon hearts puppet shows
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