Playing With Paper - Illuminating, Engineering, and Reimagining Paper Art (gnv64) PDF

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(Fogra 29_WF)Job:08-28850 Title:RP-Playing With Paper
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PLAYING WITH PAPER
} and reimagining paper art }
illuminating, engineering,
Helen Hiebert
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Contents
introduction .......................................... 6
1 getting started:
cut, score, fold,
and weave ................................ 8
2
projects to play with:
artistic ideas for weaving,
flying, illuminating,
and inflating paper ................. 28
3 gallery:
taking paper to
new dimensions ....................... 96
templates .............................................. 136

resources ............................................. 140
artist directory ................................... 142
acknowledgments .................................. 143
about the author ................................. 144
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Introduction
I
have to confess that I have an obsession meet many experts in the field. I joined the national
with paper. I remember a classmate in fifth grade and international hand papermaking associations
showing me a crumpled sheet of notebook paper and wrote two how-to books about hand papermak-
that he’d been crushing and unfolding for days. I ing and one about making paper lamps.
tried crumpling a sheet and was amazed at how soft
I met my husband during my tenure at Dieu Donné,
it became. As I manipulated it, it was almost trans-
and we decided to start a family in Portland, Oregon,
formed into a new material—something like leather.
where we live today. I have a small but well-equipped
Fast-forward fifteen years and I was living in papermaking studio in my detached garage, where I
Germany on a junior year abroad program in college, produce artists’ books and installations, write a blog,
taking a class called “Paper.” This time I became and train interns. I travel and teach, sharing what I
engrossed in building with paper. I made a small know about paper and telling people about the many
table out of cardboard and constructed a three- amazing artists whose work I’ve had the opportunity
dimensional alphabet using pop-up techniques. to view and read about.
During my senior year of college (in Tennessee),
I still frequently encounter artists from all walks of
I delved into the art of origamic architecture, a
life who are transforming paper in amazing ways.
technique developed in Japan, and made a series
I’ve asked many of them to contribute projects and
of objects that involved the transformation of flat
images that fill the pages of this book. Their work
sheets of paper that were simply cut, twisted, and
showcases the variety of ways that artists are work-
folded to create three-dimensional sculptural forms.
ing with paper, including pop-ups, model making,
A few years after college, I had the opportunity to paper cutting, book arts, quilling, origami, folding,
travel to Japan, where I was, once again, inspired by and pleating, and there are even a few projects that
paper. I spent hours in paper stores and department involve flying paper. My hope is that you will be
stores looking at the incredible range of Japanese inspired by the potential of paper as an art form.
papers, stationery, and packaging designs. I fell in
The versatility of paper rivals that of any medium:
love with the way light filtered through traditional
it can be torn into pieces or burned with a match, yet
paper shoji screen walls in the traditional inn where
it has the integrity to grace graphic design, fashion,
I was staying. And when I returned to New York
and even architecture. Even though I no longer need
City, where I had moved after college, I discovered
a sheet of paper to write this manuscript because
Dieu Donné Papermill, a studio dedicated to the art
technology has usurped much of our need for it,
and craft of handmade paper. Soon after, I realized
I trust that artists will continue to create with it and
that I’d found a career.
collectors will continue to appreciate its beauty, that
I worked as program director at Dieu Donné for six same beauty I saw as the light filtered through the
years. During that time, I learned everything about ancient shoji screen panels in Japan.
making paper by hand and had the opportunity to
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getting started:
1
CUT, SCORE, FOLD, AND WEAVE
}
Chapter
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Getting Started:
page 10
cut, score, fold, and weave
P
aper is an incredibly versatile material. Not only is it useful as a substrate for
playing with paper
all kinds of printed material and art media, but it is also used sculpturally in book arts,
model making, architecture, fashion, lighting, interior design, and graphic design. The
following guide to materials and techniques will familiarize you with the properties and tools
that make working with paper simple and enjoyable.
What Is PaPer? a BIt of hIstory

Paper is made from plant fibers such surface and the fibers interlock The first papers (aside from papyrus,
as wood, rags, or grasses, which through a process called hydrogen which is not a true paper, because
contain cellulose. The fibers are bonding. The wet sheets are then the fibers are not macerated) were
beaten to a pulp, diluted in water, pressed and dried to form sheets of made by hand from plant fibers in
and poured onto a wire mesh screen paper, and the same basic process is Asia about two thousand years ago.
surface. As the water drains through used whether paper is made by hand Later in Europe and then in America,
the mesh, the pulp solidifies on the or by machine. papers were produced by hand from
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cotton and linen rags. Today, com-
mercial papers are made on large
page 11
machines, where pulp is poured
onto a conveyor belt–type screen
and then dried, coming off the belt
as it is cut into sheets. The advent
of the industrial revolution all but
eliminated the need for handmade
papers, but thankfully, artisans who
like to hold on to traditions and art-
getting started
ists who like working on handmade
paper as a substrate have kept
hand papermaking alive. Since the
1970s, artists have been working
with handmade paper as a two- and
three-dimensional medium in and
of itself. There is also a wide range
of decorative papers on the market
today, many imported from around
the world, which are suitable for a
variety of artistic techniques.
Where to fInd PaPer

I love discovering new papers, some-
times in odd places, like the Jong Ie
Nara Paper Art Museum that I visited
in Seoul, South Korea, where I found
hundreds of origami paper designs
that I had never seen before. I have a
stockpile of papers in my flat files, so
I have stash a to choose from. Here
is a list of places to start looking for
interesting papers for your projects.
• At your fingertips. Wrapping paper,

envelopes, office paper, cardstock,
tissue paper, and newspaper are
just a few of the papers that you
might have at home.
• In the recycling bin. Call your local paper to hand-decorated papers. • Online. If you live in a small town,
printing company or raid your Check out the selection at art it might be hard to find unique
recycling bin and you are bound supply stores, stationery stores, papers. There is a wide selection
to find some interesting paper. and scrapbooking and specialty available through distributors and
Don’t forget to think about out- paper stores. There are also a few retail stores online. If you are like
of-date business cards, used file paper distributors in the United me and want to touch and see a
folders, envelopes, and other sorts States who manufacture and paper before purchasing it, most
of office papers as a resource. import decorative papers from paper suppliers sell swatch books,
around the world that are distrib- and some will send you a sample
• At specialty stores. There is a
uted to stores nationwide (see of one or two sheets.
plethora of decorative papers on
Resources, page 140).
the market today, from origami
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paper properties
page 12
Sometimes you’ll need a particular paper quality for a particular project: you might want
a paper with extra sizing for a watercolor painting, a strong paper that will be folded and
unfolded as the pages in a book, a translucent paper for a lampshade, or a lightweight paper
for a hot air balloon. The following factors affect how a paper will perform in a given project.
Paper Content
playing with paper
There are numerous types of paper

on the market today, many machine testInG a PaPer’s GraIn dIreCtIon
made from wood, others handmade There are several tricks for testing a paper’s grain direction, and one of the simplest
from plants. Papers range from is to bend the sheet in both directions (this test works best on thicker papers). One
100 percent cotton rag watercolor direction will be considerably more resistant to bending than the other. The direc-
papers, which are acid free, to tion that offers less resistance indicates the paper’s grain direction.
newspapers made from wood pulp,
which turn yellow after a few weeks.
Many suppliers offer information
about paper content, and you’ll want
to investigate this, especially if you
are concerned about how long your
paper will last. indicates the grain direction (for the later stages on the papermak-
example, the grain on a 22 × 40 inch ing machine. Traditional handmade
Paper Grain [56 × 102 cm] sheet runs in the paper formed on a mold and deckle
Paper has a grain, like wood does. 40 inch [102 cm] direction). have laid lines, which are pressed into
Grain direction is particularly the sheet when it is made on a mold
important when the paper is being texture/surface constructed of rows of metal wires
folded (such as in an accordion Paper produced on a machine has or bamboo. Laid lines are very close
fold or the pages of a book). When a subtle woven texture, created together and run perpendicular to
manufactured commercially, paper when the paper is formed on wire the chain lines, which are made up of
fibers align in the direction of flow mesh cylinders that carry the wet stitched wires that affix the laid lines
on the machine. When you buy paper fiber and leave a pattern on to the mold. And because handmade
sheets of paper, they have been the finished sheet. Other textured paper is made one sheet at a time in
cut down from larger sheets or rolls. finishes, such as embossed pat- a mold, it has deckled edges, those
In general, the longer dimension terns, are created by using rollers in rough and feathery borders.
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additives and Coatings the tear or fold strength must be incredibly strong, due to the long
Sizing is a chemical that is often adequate. If paper has to be damp- fibered pulp used to create the
page 13
added to paper to make it some- ened for dyeing or printing, it must paper and the sheet formation
what waterproof and thus prevent have a high wet strength. The technique, which involves several
bleeding when working on it with strength of a paper does not relate layers of pulp laminated together
wet materials, such as watercolor or to the paper’s thickness: many of to form a sheet.
ink. Papers are sometimes coated the thinnest Japanese papers are
with a thin layer of calcium carbon-
ate or china clay to create a surface
that is suitable for the printing
getting started
industry. Some papers are addition-
ally calendared, or polished, to give
them a smooth surface. There are
hundreds of decorative patterned
papers, some hand printed and
others printed by machine.
Paper thickness/Weight
Papers come in a variety of weights
and are most commonly referred to
as text weight (normal office copier
paper) or cover weight (cardstock
and heavier). The thickness of a
sheet of paper is often measured
with calipers and is typically given in
thousandths of an inch. The weight
of a paper is described using a
complex system in pounds in the
United States and grams per square
meter in Europe.
opacity
Opacity is the measure of how much
light is kept from passing through a
sheet of paper. Opacity is important
in papers that will be printed on both
sides, such as book pages. There are
also many translucent papers, which
are suitable for lampshades, folding
screens, and window decorations.
Several projects in this book are
enhanced by translucent papers
and feature techniques such as
cutouts, which create shadows, and
pierced holes, which allow light to
filter through.
Paper strength
Paper strength is important for a
variety of reasons. If the paper is
going to be folded and unfolded,
such as in a book, map, or pamphlet,
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basic tools e
j
and materials
t
page 14
C q
f
h
Here is a guide to special tools and materials
for working with paper. G
I
m
P
knives and mats s
Most of the projects in this book
playing with paper
require a craft knife (a). My favorite a

r
is the type that takes a #11 blade.
Replace the blade often—as with n
knives in the kitchen, a sharp knife B l
makes cutting easier, especially
on thicker papers. A cutting mat
protects your work surface and most
k
have grids printed on them, which
d o
makes it easy to measure and cut
straight lines.
Cutting tools
I have a small paper cutter in my Ring), use a circle cutter (i). This tool paper. It is often helpful to place the
studio for cutting small sheets to requires a steady hand and frequent paper you are scoring on a cutting
size, as well as an assortment of scis- blade changes and must be used on mat or a few pieces of cardstock
sors (b): a standard 8 inch (20 cm) a cutting mat. to cushion the paper when scoring.
pair, a child-size pair, and tiny scis- Proper scoring is done on the side
sors (not shown) for making intricate triangles and straightedges of the sheet that will be folded
cuts. A heavy-duty pair (t) might be I prefer metal rulers (k) for cutting, outward. For example, you score
useful for some projects. A rotary because plastic rulers can fray when the outside of a book cover.
tool (d), used to cut fabric, can be running a knife along their edge.
used to cut organic lines and shapes. I have rulers ranging in length from adhesives and applicators
6 to 36 inches (15 to 91 cm), and I My favorite adhesive is PVA glue,
Punches use the size that best fits the project. which is a white, clear-drying,
An awl or a potter’s needle (e) (make Many metal rulers have cork on the archival glue, and I love using
your own by poking a needle into a back, which keeps them from slip- a mini glue applicator (n), which is
cork [f]) works well for punching tiny ping. I like a transparent plastic graph available from The Lamp Shop (see
holes, and an unthreaded sewing ma- ruler for measuring because it has a Resources, page 140). Brushes (o)
chine can punch a row of holes in a grid of lines on it, which makes plot- also work. Glue sticks (p) are useful
flash. Handheld hole punches (g) are ting and drawing parallel lines easy. for temporary gluing and when
great for punching shapes and holes A metal triangle (l) comes in handy gluing thin papers, such as tissue
close to the edge of a sheet of paper, when plotting and cutting angles. paper. Double-sided tape (q) is thin
but my favorite is the Japanese hole and works well for laminating sheets
punch (h), which has interchangeable folding and scoring tools of paper together; artist’s tape is
punches in various sizes and allows Bone folders (m) are a common book- repositionable and doesn’t leave a
for punching holes anywhere on a binding tool used to score paper in residue, which makes it perfect for
sheet. Decorative punches (c) come preparation for folding as well as for temporary connections.
in a variety of patterns and are easy creasing folds. They are typically
to use (the Shadow Ornament proj- made from bone (cow or deer), but drawing tools
ect is made with a decorative punch). some are made from wood, plastic, Pencils (r) and erasers (s) are
When you need to cut perfect circles or even Teflon. In a pinch, you can essential for outlining and marking
(such as for the Interchangeable use the back of a knife to score your measurements.
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attachments and connections
page 15
Here’s a glimpse at some of the cool fasteners
you can find in office and art supply stores
that lend themselves to working with paper.
Fasteners. Peek through your office

drawers and you are likely to come
getting started
up with a variety of fasteners, such
as paper clips and staples. Station-
ery, office supply, and scrapbooking
stores have interesting and colorful
selections of these items, plus mini
clothespins, eyelets, Velcro, clips,
brads, and more. Screw posts are
metal fasteners that allow you to
bind a stack of papers.
 Don’t forget the fabric store!

Sewing is a great way to connect
papers: I run paper through the sew-
ing machine all the time, but you can
do many things with hand stitching
as well. Japanese stab bindings are
done with a needle and thread, and
I’ve seen artists even use a drill to
make holes in stacks of paper (if you
try this, be sure to secure the stack of
paper with a clamp).
Think outside the box. I like to use

magnets (see the Interchangeable
Ring and Accordion Night-Light
Paper tabs. I like to unfold enve-
Cover projects), and I’m always on
lopes, boxes, and other types of
the lookout for materials that might
packaging to examine their engi-
not normally be used with paper,
neering. There are numerous
such as bamboo barbeque skew-
greeting card and gift wrapping
ers for the hinges of the Envelope
ideas that utilize paper engineering
Folding Screen and the Piano Hinge
as well, and the mechanisms in
Photo Album.
pop-up books and cards can get
even more complex. Simple paper
tabs and slots can develop into
complex paper structures.
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how to fold a perfect
page 16
sixteen-section accordion
Several projects in this book require accordion folds, and the best method is not by folding
the sheet back and forth, like most of us did when making simple fans in elementary school.
playing with paper
Reverse the valley fold so that there

b
are three mountain folds. Now fold
✂ materIals the top mountain fold up to meet the
• paper, cut to size single leaf edge of the sheet, aligning
• bone folder the edges and creasing the new fold.
• bench hook or strip of wood Fold the middle and last folds up in
(optional) the same manner, aligning all of the
edges and creasing each fold (c).
InstruCtIons
1 make the fIrst fold

Place the sheet of paper, face down,
on the work surface and fold it in
half, matching up the short edges as 2 make the seCond set
perfectly as possible. Turn the folded of folds
paper to position the folded edge at Take the top leaf (a single layer) of
the top of the work surface (a). paper and fold it up, matching it up
with the top folded edge. Crease the
fold. Flip the paper over and repeat
a with the top leaf of paper on the
other side. There are now four layers
of paper.
3 reverse some folds tIPs

Unfold the paper gently and note
Make sure the grain direction runs
that there is a valley fold (when
in the direction of the accordion
unfolded, the fold looks like the let-
folds. Use a bench hook tool to
ter “V,” or a valley) in between two
push the edges of the folds up
mountain folds (when unfolded, the
against a firm guide for accuracy;
fold looks like a mountain ridge) (b).
alternatively, you can attach a strip
of wood to your work surface.
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page 17
d
how to set an eyelet

✂ materIals InstruCtIons
• eyelets Punch a hole in the paper
getting started
• hole punch to match the where the eyelet will be set.
eyelet size (individual Place an eyelet face down on
punches or Japanese screw a cutting mat, line up the hole
punches with several hole in the paper, and set the eyelet
sizes can be found at art, setter on top of the straight
craft, and scrapbooking sides of the eyelet. Hammer
supply stores) the back of the eyelet setter
• eyelet setter with a few short taps to set
4 ComPlete the aCCordIan • hammer the eyelet.
Finally, fold the bottom leaf up (d) to
• cutting mat
complete an accordion with sections
that are half the size of the original.
There are now eight sections.
5 reverse folds aGaIn

As in step 3, begin by stretching
the paper out and reversing all of
the valley folds. Continue as in step
3 until all sections are folded and
creased. There are now sixteen
sections in the accordion (e).
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sculptural paper techniques
page 18
Paper becomes sculptural as soon as you crumple a sheet, cut a slit, or make a fold. The next
few pages will give you an idea of paper’s potential as a sculptural medium and are meant to
serve as exercises to inspire exploration. Many of these techniques have entire books dedi-
cated to them (see Resources, page 140). As soon as you make a few cuts and folds, you’ll be
on your way to figuring out how to manipulate paper in new ways.
playing with paper
stretCh It
Many materials, fabric in particular,
utilize stretching properties. By creat-
ing a series of slits in paper, it too will
stretch and expand. Lots of holes are
created as a result, but I think you’ll
find the effect quite pleasing.
 Fold a square of paper in half on

the diagonal. Fold it in half again. Cut
slits from alternating ends, taking
care to cut from the folded edges, as
shown. Unfold the paper, hold it from
the smallest square, and let gravity
take care of the rest. Attach a piece
of string to hang it, if desired.
 Accordion fold a square or rectan-

gular sheet of paper into four panels
(see page 16 for instructions on how
to fold an accordion). Cut alternat-
ing slits as indicated, carefully unfold
the sheet, and stretch it into three
dimensions.
Artist Matt Shlian utilizes a similar technique to stretch paper in

amazing ways with his intricately cut Stretch studies series (see page 130).
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textured surfaCes
In the early 1900s, when purchasing
page 19
a lamp and shade was an expensive
endeavor and Victorian paper crafts
such as paper cutting were popular,
lampshade makers developed cut
and pierced designs. Patterns are
available from lamp craft suppliers,
or you can design your own.
getting started
Cutting slits of varying shapes and
sizes into a sheet of paper enables
the paper to be folded, bent, or
curved, creating interesting textured
surfaces.
slIts aCross a fold Unfold the last two folds and cut slits
Parallel slits cut perpendicular to a perpendicular to and through the
fold release the sheet of paper from center fold at about 1⁄2 inch (1.3 cm)
its two-dimensional state and allow intervals. Finally, unfold and roll the
it to be shaped into a vessel or lan- form into a cylinder. Adhere the
tern form. Fold a rectangular sheet outer edges with a strip of double-
of paper in half. With the open edge sided tape. Try variations using
facing up on the work surface, fold deckled scissors, cutting the folds at
the top layer of paper back down an angle, creating additional folds in
about 1⁄2 inch (1.3 cm). Flip the paper a taller sheet of paper, or punching
over and repeat on the other side. decorative holes in each slit.
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PaPer Cuts
Paper cutting is a tradition found in
page 20
many parts of the world. Start with

simple patterns, like the well-known
accordion fold cutouts and paper
snowflakes, and then advance to
more sophisticated designs and
techniques.
Accordion fold a sheet of paper

playing with paper
into four panels (see instructions

on page 16). Draw a pattern, use a
template, or work freehand, leaving
some areas on the folds uncut.
 Fold a paper circle or square in

half multiple times as shown. Cut
out a pattern, using the illustration
as a guide.
Fold a sheet of paper in half. Cut

slits as indicated with a craft knife.
Unfold and attach center parts with
a dab of glue, a glue stick, or a piece
of double-sided tape.
Artist Béatrice Coron uses her craft knife like

a pencil, drawing paper cuts in everything from book
pages to wearable paper dresses (see page 102).
Model created by Paul Johnson
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PoP-uPs
Everyone gets a kick out of pop- These do-it-yourself models are from
page 21
up books and greeting cards, Carol Barton’s book, The Pocket
watching the paper transform Paper Engineer, a three-volume
from two to three dimensions as series on how to make pop-ups step
the page unfolds. Here are a few by step. This instructional workbook
very basic pop-up folds that serve trilogy is a complete class in the art
as the foundation for unlimited and of designing pop-ups and is filled
still-to-be imagined pop-up forms. with construction tips, illustrations
of sample pop-ups, and recommen-
getting started
dations for tools and supplies (see
Resources, page 140).
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GeometrIC solIds
Google “geometric paper sculp-
page 22
ture” and you will find instructions

for making everything from pyra-
mids to polyhedrons. (I even found
instructions for folding a paper
DNA model.) Designing forms
like these requires the mind of an
architect—being able to visualize
three-dimensional objects as flat
playing with paper
forms. Once you’ve got that down,

you just need to add tabs for gluing,
and then you’re ready to score, fold,
and assemble! Kell Black’s Piece of
Cake project (see page 40) features
techniques used in creating three-
dimensional geometric shapes.
Use these illustrations as a guide to

map out your own cube and pyramid
in any shape or size.
There are many variations and

combinations of the basic cube and
pyramid shapes. I made this set of
vowels called Sound Blocks.
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sCored Curves Score a rectangular sheet of paper
The fact that you can make a stiff, as shown. Carefully manipulate along
page 23
flat material form fluid folds never the creases to create alternating
ceases to amaze me! Making curved mountain and valley folds.
folds is one of the best uses of a
bone folder—the paper has to be
scored first in order to force it to
curve in ways it wouldn’t normally
go. Paper choice is important: look
for a stiff yet pliable material; oth-
getting started
erwise, the paper will tend to crack
along the score lines and pucker
around the curves. You can make a
simple template as a guide for scor-
ing or use a flexible French curve
(a drafting tool).
Use a compass to draw a series

of circles, one inside the other,
with approximately 2 inches (5 cm)
between each circle. Score along
the plotted lines (freehand or with
the aid of a template or French
curve). Remove a small pie-shaped
section, as shown. Carefully crease
along each scored line, alternating
mountain and valley folds. Overlap
the edges by 1⁄2 an inch (1.3 cm) and
glue or tape in place.
 Score the curves as shown. Mani-

pulate the creases into mountain
folds, bringing the form into a round.
Overlay the edges and glue or tape
in place.
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Pleat Pleat!
Pleating is common with fabric, but
page 24
in most cases it requires stitching or

heavy starching to keep the pleats in
place. Paper’s rigidity makes these
repetitive designs stay in place once
they are folded. Start by folding a
triangle to learn the basic principles
and then try the other variations.
Once you’ve mastered turning
playing with paper
corners with pleats, you’ll be a whiz

at making the Accordion Night-Light
Cover (page 76) and the Expanding
File Folder Book (page 90).
There are two excellent books that
feature many variations on pleat
folding: Creating with Paper, by
Pauline Johnson, and Folding
Techniques for Designers, by Paul
Jackson (see Resources, page 140).
Fold an isosceles triangle in half

and then reverse the fold (folding
the paper in both directions is called
a universal fold and trains the paper
to reverse fold easily in future steps).
Accordion fold the doubled paper as
shown, unfold, and accordion fold
again in the other direction, reversing
all the folds. Unfold completely, hold-
ing the tip of the triangle pointing
away from you. The first fold on the
left half of the triangle is a mountain
fold and the center crease is a valley
fold. Carefully reverse all the folds on
the right half of the triangle, so they
match the folds on the left; at the
same time, alternate the short folds
in the center crease.
Artist Eric Gjerde pleats paper in complex

ways, creating origami tessellations, many of which
he shares in his book of the same name and on his blog
(see page 110 and Resources, page 140).
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page 25
getting started
 This fold is best tested first with a
thin paper. Accordion fold a rectan-
gular sheet into eight sections. Next,
fold the entire accordion in the mid-
dle at a right angle and then reverse
that fold. Unfold back to a rectangle
and notice the diagonal folds. Work
the folds so that the diagonals all end
up creasing in the same direction
and the verticals alternate between
mountain and valley folds, as shown.
This pleating is a bit trickier, until

you get the hang of it. Use a thin pa-
per and make a model by accordion
folding a 10 × 16 inch (25.4 × 40.6 cm)
sheet of paper into sixteen sections.
Divide and mark the accordion-
folded paper into five 2 inch (5 cm)
sections. Score alternating diagon-
als between the sections as shown.
Fold along the score lines and then
reverse the folds (because the paper
is thin, it should not be difficult to
fold through the layers). Gently
unfold to reveal the diamond pat-
tern along the accordion folds.
Starting from one end, manipulate
the paper into a series of diamonds
with convex creases (valley folds)
in the center of each diamond. If
your paper is wide enough, it can
be pulled into a spherical form.
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orIGamIC arChIteCture
Japanese engineer Masahiro
page 26
Chatani wrote a book called Pop-

Up Origamic Architecture, which
combines paper folding and cutting
techniques. Sometimes this is called
kirigami. My first works in paper
more than twenty years ago were
inspired by Chatani’s books, and
I made a series of models. When
playing with paper
illuminated, these structures create

dynamic shadows.
 Follow the diagram to create a

series of graded steps. Cut and score
accordingly and push the pop-ups
into place.
Create a series of slits as indicated.

Score the ends of each slit on both Artist Paul Jackson uses another principle of
sides and carefully bend the paper origamic architecture in the Interlocking Pop-Up
or fold it into a cylindrical form. Castle project (see page 36).
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orIGamI
Last but not least, origami is prob-
page 27
ably the most well known of all of
the ways of working with paper, and
there are hundreds of books on the
subject. Origami, quite simply, means
folded paper, and most origami folds
begin with a square that is folded
multiple times to create objects
ranging from flowers to animals.
getting started
Artists have developed innovative
origami techniques, such as wet
folding, which involves folding damp
paper. This makes the paper more
malleable and allows the origami art-
ist to do things that are not possible
with dry paper.
Traditional origami designs
Chris K. Palmer folds these intricate Mike Friton’s tessellations become In my own explorations in hand
origami tessellations in kite paper. three-dimensional. papermaking, I embed materials
such as string and wire between
sheets of paper during the wet sheet
formation process. As the sheets dry,
they transform from flat sheets into
three-dimensional forms, a sort of
Artist Peter Gentenaar’s pieces morph from paper origami that is controlled by
flat to sculptural forms as wet paper dries in tension the paper itself.
with bamboo structures (see page 106).
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projects to play with:
2
ARTISTIC IDEAS FOR WEARING, FLYING,
ILLUMINATING, AND INFLATING PAPER
}
Chapter
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ProjeCt
page 30
artist: Helen Hiebert

A variation on window stars
seen in Waldorf communities,
Paper: kite paper
PaPer tIdBIts
Kite paper is a colored wax paper, traditionally used in
European kite making. Multicolored packages of 6¼ × 6¼
inch (15.9 × 15.9 cm) sheets can be found online or in Waldorf
school stores. Grocery store wax paper or colored tissue are
also options, but the crispness and translucency of the kite
paper make it worth the special order.
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page 31
Window Stars
r
eminiscent of kaleidoscopes and cut paper snowflakes, these
stunning light catchers brighten your windows, even on overcast days.
projects to play with

This is a great family project—just a few simple folds and some glue.
Display a grouping to ward off birds trying to fly through a crystal clear window.
a b
InstruCtIons
1 CuttInG the PaPer 3 assemBle the seCtIons

Fold eight 6 1⁄4 × 6 1⁄4 inch Take two sections and place one
✂ materIals
(15.9 × 15.9 cm) sheets of kite on top of the other. Holding the
• kite paper or tissue paper
paper in half, and cut or tear two narrow points together, fan
• scissors or craft knife
along the folds to create sixteen them apart until the overlap is
• bone folder (optional)
rectangles that are approximately approximately 1⁄2 an inch (1.3 cm)
• cutting mat (optional)
6 1⁄4 × 3 1⁄8 inches (15.9 × 7.9 cm). and glue the sections together (b).
• glue stick
Continue joining section by sec-
• transparent tape
2 fold and Glue tion. Apply glue to the last section
Do the following to all sixteen and tuck it underneath the first
 ConsIderatIons
pieces of paper: First, fold the section to complete the circle.
The possibilities for these stars
sheet in half lengthwise. Unfold, Attach the star to a window with
are endless. Begin with a square
and then fold all four corners into a small piece of transparent tape.
instead of a rectangle, vary the
the center line, creasing the folds
paper size, modify the folds,
and locking them in place with a
overlap the sections in a differ-
fingernail or bone folder. Fold all
ent fashion, alternate colors,
four corners in again. Use a glue
or include the entire rainbow!
stick to tack down all of the folds
so that each unit lies flat (a).
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a
2}
project
page 32

Inspired by a design by Linda Riogeist
Papers: Thai unryu, Crystal Metallic
paper tidbits
There are many translucent papers that are imported from Japan,
Thailand, and a variety of other countries. These are often referred to
as “rice papers,” but they are not made from rice. They are made from
the long inner bark fibers from plants like kozo (or paper mulberry),
which has been used throughout Asia for centuries to make paper.
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page 33
Shadow Ornament
L
ight filtered through paper is captivating, and this project is
inspired by the Japanese shoji screens that do a lovely job of dividing space

and creating a beautiful atmosphere in a room. Shadows are fun because
they change, depending on the light source. Hang this shadow ornament on a
Christmas tree or in a window, or package it in a ring box as a gift.
InstruCtIons
1 PunCh and Cut the PaPer 3 adhere the CardstoCk

Punch the card-weight paper and to the Balsa
Place the punched cardstock face ✂ materIals
trim the edges using a ruler, leav-
• cardstock
ing approximately 1⁄4 inch (6 mm) down on a piece of scrap paper.
• plain translucent paper
around the design for the balsa Apply a small amount of glue to
• 1⁄8" × 1⁄8" × 24" (3 mm × 3 mm ×
wood frame (a). one edge of a longer length of
61 cm) stick of balsa wood
balsa wood, smooth it out, and
• decorative thread
2 attaCh the hanGer adhere it to one edge of the paper,
• beads (optional)
and Beads using the paper’s edge as a guide.
• craft knife
Most balsa wood has colored ends Repeat with the other longer
• cutting mat
and bar codes. If so, trim or sand length on the other side. Check
• paper punch
to remove these. Measure and cut that the smaller lengths will fit
• ruler
two lengths to fit the cardstock between the longer ones, sand-
• sandpaper (optional)
height and another two that are ing the ends down if necessary or
• awl
1
⁄4 inch (6 mm) smaller. Use an awl shaving them with a craft knife.
• needle
to pierce a hole in the center of Glue them in place (c).
• scrap paper
two of the shorter lengths of balsa
• white glue
wood, thread the needle, and 4 attaCh the
transluCent PaPer • pencil
attach a loop of thread to the top
for hanging and some beads at Cut the translucent paper slightly
the bottom, if desired (b). larger than the cardstock and  ConsIderatIons
place it face down on scrap Most paper punches have a
paper. Apply glue to the face of limited reach, so the size of this
the square of balsa wood pieces, ornament is limited to how far
smooth it out, and then stick it the punch can reach into the
down to the translucent paper. Im- paper. Cutting a design by hand
mediately lift the glued ornament eliminates this challenge.
to make sure there are no wrinkles
in the translucent paper. Place the
ornament on a cutting mat with
the translucent paper facedown
and trim the paper to the outer
edges of the balsa wood (d).
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3}
ProjeCt
page 34
artist: Mike Friton

PaPer tIdBIts Paper: metallic cardstock
An incredible range of 8½ × 11 inch (21.6 × 28 cm) cardstock is available
in a variety of stores and online. Scrapbooking papers come in an even
wider variety of printed designs. Use a heavier weight cardstock to ensure
these bugs don’t lose their capacity to fly for a long time!
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page 35
Kirigami Mobile
I
nnovator Mike Friton has patented numerous shoe prototypes
for Nike as well as collapsible wings for stage performances. His passion for

finding new ways to translate flat materials into three-dimensional shapes
has led him to experiment with three-dimensional textile and paper sculpture,
exploring weaving and cut-out techniques, like these kirigami insects and animals.
a b
✂ materIals
• template (see page 136)
• cardstock
• alligator clips
• wire
• string
• craft knife
• cutting mat
• pencil
• bone folder
• straightedge
• scissors (optional)
2 sCore and fold

 ConsIderatIons
Score along all of the score lines as
Kirigami is a variation of origami
indicated. Fold the butterfly in half
that involves cutting the paper
and crease the center line with a
in addition to folding it. Kirigami
bone folder. Unfold the wings about
patterns are usually symmetrical
halfway and manipulate the score
and start with a folded base,
lines along both sides of the body
which is cut and then the cuts
section, making the body pop up.
are opened and flattened. Once
InstruCtIons Fold the butterfly in half again to
you make one or two of these,
reinforce the body folds (b).
it will be easy to branch out and
1 transfer the ImaGe design more mobile characters
to PaPer 3 make the moBIle of your own!
Enlarge the template found on I found this Photo Ball Mobile on-
page 136 to your desired size and line, but it would be pretty simple
print it onto a sheet of cardstock. to construct your own. Mini alligator
These samples each fill an 8 1⁄2 × 11 clips can be purchased at electron-
inch (21.6 × 28 cm) page. With a ics stores, or search the aisles of
craft knife and cutting mat, cut local office supply stores for inter-
out the butterfly outline, the small esting clips. Suspend the clips from
shapes in the wings, and the slits wire or string and let your insects
in the body (a). and animals bounce around.
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4}
ProjeCt
page 36
artist: Paul Johnson

Paper: 12 pt. colored cardstock
PaPer tIdBIts
Cardstock comes in a variety of weights: use 80# (pound) or
100# cover stock to make this castle stand upright.
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page 37
Interlocking
pop-up Castle

T
ake three sheets of paper and cut them into eight interlocking
pieces to make this pop-up paper castle! Book artist Paul Johnson has
devised numerous lightweight collapsible structures by studying cellular
packaging designs, and his pop-up books utilize interlocking slots and tabs, which
allow them to collapse flat.
a b
✂ materIals
• templates (see page 137)
• 3 sheets cardstock, 8 1⁄2" × 11"
(21.6 × 28 cm)
• craft knife or scissors
InstruCtIons • cutting mat
1 Cut out the Castle 2 InterloCk the PIeCes  ConsIderatIons

PIeCes Start by interlocking the castle Once you familiarize yourself
Photocopy each template onto pieces, ensuring that the windows with how the slits function,
a sheet of cardstock. Cut out the are facing out. Next, interlock the design your own collapsible
pieces, including the slits (and the outer walls, keeping the battle- structures, from simple grids to
windows, if desired) (a). ments at the top (b). abstract forms. Try using printed
cardstock or decorative papers.
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a
5}
ProjeCt
page 38

Papers: translucent vellum, cardstock
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page 39
Interchangeable ring
Y
ou can make several of these ring toppers in different colors
and swap them out to match your mood. A small magnet holds the ring

topper in place but allows you to customize the piece for variety.
InstruCtIons
1 Cut out the CIrCles 3 joIn the CIrCles a small weight to set on top of it as
Use the cutting mat and circle Cut small pieces of double-sided it dries). Let it sit for a few hours.
cutter to cut out seven or eight tape (approximately 1⁄4 × 1⁄2 inch Place a drop of epoxy on the back
circles (1 1⁄2 or 2 inches [3.8 or 5 cm] [6 mm x 1.3 cm]) to adhere the of the magnet and attach it to the
in diameter) from the vellum (a). paper sections. Place a piece center of the ring topper. Connect
of tape on one side of a section the topper to the ring blank (d).
2 fold the CIrCles and adhere another section to it,
Fold each circle in half and crease taking care to line them up. Repeat
the fold with a bone folder. Unfold with each section, making a long
and flatten back out into a circle. snakelike piece. The last section
✂ materIals
Don’t turn the paper over (this fold will be joined to the first, bringing
• translucent vellum paper
is easy if the first two creases are the piece into the round (c).
• colored or decorative cardstock
on the same side of the paper); • strong slim magnet
fold the circle in half again, so 4 add the BaCkInG (see Resources, page 140)
that the two ends of the line that Cut a circle of cardstock just a bit
• ring blank
were just folded together overlap. wider than the diameter of the
(see Resources, page 140)
Crease this fold, creating a cross ring topper. Apply a thick layer of
• double-sided transparent tape
on the circle. Unfold. Now turn the white glue (do a test first, to make
• white glue
paper over and fold the circle in sure the glue dries clear) to the
• epoxy glue
half so that the end points of the circle and set the ring topper on
• cutting mat
two previous folds meet and over- it. Push the topper down so that it
• circle cutter
lap. Unfold into a circle again, push forms a semi-sphere and all of the
• bone folder
in at the center of the last fold, folded edges touch the glue. Hold
and flatten the folds to create a in place until the glue sets (or find
 ConsIderatIons
quarter circle (b).
Purchase a circle cutter at an art
or craft supply store to make
cutting a perfect circle a snap.
PaPer tIdBIts
Before there was paper, vellum was a paperlike substrate made
from calfskin, which was cleaned, bleached, stretched on a
frame, and scraped to produce single pages for scrolls and
books. Today, commercially produced vellum is made from
plasticized cotton and the paper is translucent. Vellum has a
stiff quality, which enables it to hold its shape when folded; it is
often used for architectural drawings.
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6}
ProjeCt
page 40
artist: Kell Black

Paper: index-weight white cardstock
PaPer tIdBIts
Index-weight cardstock is the perfect weight for this project—
thick enough to hold up, but not too thick for the intricate
folds in this 2 inch (5 cm) -long piece of cake.
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page 41
piece of Cake
W
ho doesn’t love cake? And this slice has no calories! Surprise a lucky
someone with one of these on her birthday! Kell Black, author of Paper

New York and Paper Chess, makes one each year for his secretary at work.
InstruCtIons
a
1 Cut the PIeCes 4 make the Candle

Photocopy the template onto Starting with the tapered edge of
cardstock and cut the pieces (a). the candle piece, roll the paper
around a toothpick and glue it
2 make the Plate and fork where the end meets the line on
Score all of the lines on the bottom the paper. Put a dab of glue on the
of the plate with a thin tool, such bottom of the wick and slip it into
as the unsharpened edge of a craft the candle (b).
knife. Carefully fold the edge of
the plate between each triangle to 5 assemBle
create a fluted edge. Bend the fork Glue the bottom of the cake onto
handle slightly so that it rests on the plate, glue the fork in place,
the edge of the plate (b). and glue the candle on top (c).
Let’s eat cake!
3 make the Cake
Score and fold along all of the
solid lines. Glue the tip of the cake
b
together, placing the tab on the in-
side of the slice. Score and fold the
✂ materIals
top of the cake and glue it in place,
• cardstock
with the frosted edges showing on
the outside. Score, fold, and glue
• craft knife
the line of frosting between the
• cutting mat
layers onto the cake (b).
• bone folder
• toothpick
• white glue
c • pencil
• ruler
 ConsIderatIons
Before assembling, decorate
your piece of cake with stickers,
markers, or colored pencils.
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7}
ProjeCt
page 42

Papers: baby envelopes from Paper
Source; photos printed on Epson
Premium Presentation Paper Matte
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page 43
piano hinge
photo album

T
he piano hinge binding was developed by hedi kyle, a pioneer in
the field of book arts who has developed many innovative binding systems
and unique folding methods. I gave it my own twist by using envelopes
because the double layer of paper means the hinge is built in. And because envelopes
are rarely used for mail anymore, here is a creative use for them!
a
InstruCtIons
1 PrePare the enveloPes

Determine the size and shape of the
picture frame. The frame pictured here
is 1 1⁄2 × 2 inches (3.8 × 5 cm), allowing
for a 3 ⁄8 inch (1 cm) border on three
sides and extra space at the hinge.
2 mark the hInGes

Trace the template on page 139 on a
lightweight cardstock and cut it out.
Place the template with the notched
side along one edge of the envelope and
mark the notches with a pencil. Mark the
slight angle at each end of the pattern (a).
✂ materIals
• lightweight cardstock
• baby envelopes
(2 1⁄4" × 3 1⁄2" [5.7 × 9 cm])
• photos
• slim bamboo skewers
• craft knife
• heavy duty scissors, wire cutting
tool, or garden clippers
• cutting mat
• pencil
• ruler or straightedge
• scissors
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b 3 Cut out the hInGes and WIndoWs
Using a craft knife or scissors, cut, remove, and
page 44
discard the notches and the angles from the ends.

The edge of the envelope is now divided into
three sections between the notches. With the flap
closed, measure, draw, and cut out the window
on one envelope to make a template. Use the win-
dow template to trace the shape onto all of the
other envelopes (keeping the flaps closed) and
cut them out (a).
playing with paper
4 fIll the PoCkets

Cut photographs to fit inside of the envelope: the
width should be 1⁄2 an inch (1.3 cm) smaller than
the width of the envelope and the height should
be 1⁄4 inch (6 mm) shorter than the envelope height.
Insert two photos, back to back, into the window
frames, paying attention to the orientation. Seal the
parts of the flap that are not cut away.
5 thread the BIndInG

Cut bamboo skewers to the height of the spine
using heavy duty scissors. Arrange the photo
pages and stack them with the backs (the sides
where the flaps show) of the envelopes all facing
the same direction. Working from the bottom of
the pile to the top, pick up the bottom two enve-
lopes and thread a skewer into the top section of
the top envelope, the middle section of the bottom
envelope, and then back into the top section of the
top envelope. Pick up the third envelope and place
it on top of the first two. Thread the skewer in the
same fashion. Continue adding pages until they are
all joined (b).
PaPer tIdBIts
Baby envelopes are available at specialty paper stores,
stationery stores, and online, where all sorts of papers,
shapes, colors, and sizes can be found. Create custom
photos for this book by printing them onto photo paper
and cutting them to size.
Detail of the binding.
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page 45
V varIatIons
• This project can be adapted for
any envelope shape or size.
• Leave one edge of the window
connected to create a flap, so
that the photos can be revealed
when the window is opened.
• Don’t seal the envelopes for easy
photo swapping.
• Use translucent vellum envelopes
for an interesting effect.
• Create shaped window cutouts
with a circle cutter or a template.
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8}
project
page 46

Papers: colored envelopes, asanoha
(star pattern) Japanese lace paper
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page 47
Envelope Folding
Screen

E
nvelopes are fun to work with because they come in a variety of
colors and sizes and other papers can easily be slipped into the pockets.
This adapted piano hinge allows the panels of the mini folding screen to flex
in both directions, enabling the screen to be displayed in a variety of ways or even
folded into a box-shaped lantern. Cut out patterns reminiscent of stained glass, slip
decorative papers inside, and set the screen in a spot where it can catch some light.
✂ Materials
• A7 envelopes
• lightweight cardstock
• decorative paper
• bamboo skewers
• heavy duty scissors, wire cutting
tool, or garden clippers to cut
bamboo skewers
• stencils
• pencil
• craft knife
• scissors
• cutting mat
• straight edge or ruler
instructions • bone folder
1 cut panels  considerations

Draw or trace the stencil pattern V variations Consider alternating two pat-
onto an envelope, leaving a 1⁄2 inch The flexible hinge allows the terns or design four or more
(1.3 cm) margin on each edge. envelope panels to be joined in unique panels to make the
With the envelope flap closed but various configurations: try mak- paper cuts tell a story. To find
not sealed, cut the stencil design ing a vertical wall hanging, a box imagery, look for ready-made
through all of the layers with a lantern, or a multi-panel screen. stencils in art supply stores,
craft knife. Carefully erase any Accordion fold the finished project download clip art from the
pencil marks after cutting. Repeat into a stack of flat panels for easy Internet, or trace pictures or
on each envelope panel (a). storage. patterns found in magazines
or books.
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b
page 48
playing with paper
2 Mark the hinges

Trace the template onto lightweight cardstock and cut
it out. Place the template with the notched side along
one edge of the envelope and mark the notches with
a pencil. Mark the slight angle at each end of the pat-
tern as well. Flip the template over and repeat on the
opposite side of the envelope (b).
Note: Do not cut notches on the sides of the envelopes
that will not be hinged, such as the two ends of the
paper tidbits folding screen.
Until 1840, all envelopes were individually cut by hand from
rectangular sheets of paper. In the United Kingdom, George 3 cut the hinges
Wilson patented the method of tessellating (tiling) multiple Using a craft knife or scissors, cut, remove, and discard
envelopes on one large sheet of paper and reduced the overall the notches and the angles from the ends. The edge of
amount of waste produced. the envelope is now divided into six sections between
the notches.
Japanese lace papers are lightweight, fabriclike tissues that are
machine made. The distinctive patterns are formed when the
long fibers are separated by jets of water sprayed through pat-
terned screens onto the wet, newly formed sheets.
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c d
page 49
4 score the hinges
Alternating envelope hinges (envelopes 1, 3, and so on)
will be cut like this: Keeping the envelope flap closed,
place a straightedge or ruler along the points of the
V-shaped notches on one side of the envelope, so that
e
it is parallel to the edge. Using a bone folder, carefully
score the section between the top of the envelope and
the first notch. Skip a section and then carefully score
every other section between the notches (c).
Flex the scored sections back and forth and then gently
pry the edge of the envelope open, reverse the folds,
and tuck the scored sections inside the envelope (d).
Repeat on the opposite side of the envelope. For alter-
nating envelopes (2, 4, and so on), score and tuck
every other section so that the hinges, when joined,
will interlock.
5 fill the pockets

Cut a sheet of decorative paper to fit inside of the
envelope: the width should be 1⁄2 inch (1.3 cm) smaller
than the width of the envelope and the height should
be 1⁄4 inch (6 mm) shorter than the envelope height.
Slide the paper inside the envelope and seal the parts
of the flap that are not cut away.
6 asseMble the screen

Thread the bamboo skewers through the alternating
hinges and trim the ends using heavy duty scissors (e).
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9}
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page 50

Papers: warp: Taiwanese mulberry, crumpled by the
artist; weft: hand marbled paper by Steve Pittelkow
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page 51
Woven Table Runner
W
eaving paper is much faster than weaving cloth, and with
so many decorative papers to choose from, it is both fun and easy

to come up with a paper combination that will match any type of
home decor. The paper crumpling, the wavy lines of the warp and weft, and the
tiny cutout windows make this project a step up from the paper weaving most of us
learned in elementary school. Paper can be woven to create wall hangings, window
coverings, coasters, or place mats. Ideas abound!
✂ Materials
• two complementary papers
• clear contact paper (optional,
if waterproofing is desired)
• craft knife
• cutting mat
• ruler
• pencil
• glue stick
• thin sheet plastic (styrene) or
dense cardboard
 considerations
In weaving, the warp is the set
of lengthwise yarns that are
held in tension on the loom,
and the weft is the yarn which
is drawn through the warp yarns
to create cloth. Here, the blue
crumpled paper is the warp, and
the marbled paper is the weft.
Choose a soft, flexible paper
for the warp if the table runner
will hang over the edge of a
table. The mini cutting mat is
made from thin sheet plastic
(styrene) but chipboard or
dense cardboard will also do
A window hanging allows light to filter through the cutouts. the trick. The runner can be
It is simple to shape the edges of the paper with scissors, and the placed under glass or covered
holes for hanging from the branch were cut with a circle punch. with clear contact paper to
protect it.
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a
page 52
playing with paper
instructions
1 prepare the warp and weft

Determine the length and width of the table
paper tidbits runner and cut the warp paper to that exact size.
Traditional Japanese momigami is a strong, clothlike The weft paper can be cut smaller (as shown) or
paper that has been coated in starch, dried, and then can be cut to the same length and width as the
scrunched until the sheet feels like soft chamois and can warp. Place the warp paper right side down and
be used like cloth. position the weft paper on top of it. Using a ruler
Marbling is the art of printing multicolored swirled or stone- and a pencil, draw a guideline around the weft
like patterns on paper or fabric. The patterns are formed by paper onto the warp paper.
first floating the colors on the surface of a liquid and then
laying the paper or fabric on top of the water, allowing it to
pick up the color.
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2 cut the warp and weft b
Cut undulating slits running the length of the warp:
page 53
The first slit should start at the left-hand pencil
guideline and approximately 1 inch (2.5 cm) above
the bottom guideline and run across the warp,
stopping at the right-hand pencil guideline. Contin-
ue making slits approximately 1 inch (2.5 cm) apart,
stopping 1 inch (2.5 cm) above the top guideline.
Cut the weft: Lay the weft paper on a large cut-
ting mat and cut it into undulating strips that are

approximately 1 inch (2.5 cm) wide, taking care to
keep the pieces in order for weaving (a).
3 start weaving
Erase pencil marks and then turn the warp paper
face up. Starting from the left or right, weave the
first strip of weft paper over and under the warp
paper slits. Weave the second strip starting under-
neath the warp so that the pattern alternates from
row to row to create the woven pattern. Repeat
this process and continue alternating to complete
the weaving (b). The last piece might be difficult
to weave into the remaining slits. If this is the case,
trim the long, flat side of the strip to fit before
weaving it in. c
4 glue the edges

Use a glue stick to carefully tack the ends of the
woven weft pieces to the warp. Flip the table
runner over and glue the remaining ends down.
5 cut out the windows

Cut a small piece of styrene or chipboard into a
triangular shape that is approximately 1 inch (2.5
cm) wide and 2 inches (5 cm) long. Slip the mini
cutting mat underneath each section of the warp
and/or weft paper and use a craft knife to cut out
the little windows (c).
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Paper: Van Dyke photo
printing by Alyssa C. Salomon
10}
project
on handmade abaca paper
page 54
paper tidbits
Tracing paper is a type of translucent paper used to trace images. Its man-
ufacturing process includes immersion in sulfuric acid for a few seconds,
a treatment that makes it stronger than the original paper. The combination
of a thin yet strong paper makes it the perfect choice for this project.
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page 55
Inflatable Ball
B
alls are a familiar and universal object, enjoyed by people (and
animals) throughout time and across cultures. This ball is fun to play with

because it is lightweight—simply fill it with air and inflate it like a balloon.
Unlike rubber balloons, however, this one can be partially filled and shaped because
the paper isn’t elastic and can hold its shape. Or fill it with birdseed or rice to make
a paperweight (or a sculpture that isn’t likely to be blown away or knocked over).
instructions a b
1 cut the gores

Cut four lengths of tracing paper
a bit longer than the template (see
page 139) and fold them in half
lengthwise. Stack these sections
together, creating eight layers of
paper. Trace the template onto
cardstock, cut it out, place it on
top of the stack of tracing paper,
and trace the template pattern
onto the top layer. Using a craft
knife or scissors, carefully cut out
eight gores (a).
2 glue the first two gores

Place one gore face down on a
piece of newsprint. Starting 1 inch
(2.5 cm) from the top point, apply
a thin bead of glue ( 1⁄8 inch [3 mm])
to one edge of the gore, ending ✂ Materials
1 inch (2.5 cm) from the bottom tip. • 14" (35.7 cm) -wide roll of
Be sure to get good coverage with tracing paper
the glue (any gaps will lead to • cardstock
holes in the seam and the ball will • template (see page 139)
not inflate). Smooth out the glue • pencil
with a brush. Place a second gore about gores: • scissors or craft knife
on top of the first (right side up), The word gore is a sewing term, • cutting mat (optional)
lining up the edges and pressing referring to a fabric (or in this • newsprint or scrap paper
to adhere the seam. Remove the case, a paper panel) that is usually • white glue
newsprint and discard it. Let the tapered or shaped to make up a • glue brush (optional)
glue set for a few moments (b). garment, such as a skirt. • blow dryer
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3 add gores 3 to 8
Slip a piece of newsprint in between gores 1 and 2 on
page 56
the work surface. Just as in step 2, apply glue, but to

the opposite side of gore 2. Attach gore 3 (c). Lift the
two gores that were just glued and make sure the glue
isn’t seeping through to gore 1. Pinch the glued area
and move your fingers along the entire seam to ensure
adhesion. Remove and discard the newsprint.
Slip another piece of newsprint between gores 2
and 3 on the opposite side and glue gore 4 to gore 3.
playing with paper
Continue in this fashion until gore 8 has been glued

and is at the top of the stack. The stack of gores will
look accordion folded. Go back through each accor-
dion, making sure the seams are glued all the way
along the edge and that only two gores are glued
together. Let the glue dry. After all the sections are
glued together, the view from the end of the stack
looks like an accordion. Trim approximately 1⁄2 inch
(1.3 cm) from the top and bottom tips (d).
d 4 final gluing
Slide a piece of newsprint underneath gore 1. Leaving
gore 1 flat on the table and keeping gore 8 as is on
top of the stack, gently fold gores 2 through 7 in half
and tuck them inside the two outer gores. Place a 1⁄8
inch (3 mm) bead of glue along the open edge of gore
1 and carefully adhere gore 8 to it (e). Allow the glue
to dry.
5 inflate
Cup one of the cut ends in one hand, gently pinching or
covering the opening, and blow air into the other end,
and then continue to inflate the ball with a blow dryer
on the low setting (f).
6 cap the end

Gently force the air out of the ball while cupping one
end in one hand, so that the other open end is more
or less flat. Cut a circle large enough to cover the hole
out of tracing paper, apply glue around the edges, and
cap the ball with it, applying pressure with a hand from
behind. The other end is not capped, so that the ball
can be deflated for storage purposes (g).
 tip:
upside down or right side up? When applying glue along the edge of a sheet of paper,
In order for all of the imagery to appear on the outside it is convenient to have a glue applicator. It is also handy
of the ball, place gore #1 face down, gore #2 right side to place a piece of newsprint underneath the item be-
up, gore # 3 face down, and so on as the sections get ing glued. This will catch any glue that slips off of the
glued together. This isn’t necessary if there is no object being glued and is easy to pick up and discard,
imagery on the ball. preventing glue in unwanted areas.
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e
page 57
f g
V variations
• Enlarge the pattern to create other ball sizes.
• Create a different shape! Instructions for creating
gore patterns for other shapes and sizes can be found
on the Internet.
• Some or all of the gores can be embellished with
drawings, markers, rub-on letters, or rubber stamps,
among other things.
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11}
project
page 58
artist: Brian Queen

Paper: tissue paper
paper tidbits
Tissue paper is available in drugstores, art supply stores, and
even grocery stores and comes in a variety of colors and patterns.
Tracing paper is slightly heavier and works well for larger bal-
loons. Japanese papers are lightweight, much stronger, and more
expensive and are a great option for a more durable balloon.
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page 59
Paper Hot
Air Balloon

P
aper hot air balloons have an interesting history! Two French brothers,
born into a paper manufacturing family, succeeded in launching the first manned
hot air balloon ascent in 1783 (the balloon was made of paper and fabric). During
World War II, the Japanese created balloon bombs, which were a best-kept secret during
the war. Nine thousand large hydrogen balloons were constructed from paper, incendiary
bombs were attached, and they were floated across the Pacific Ocean on the high-altitude
trade winds in an attempt to attack the United States. Approximately 300 balloon bombs
were reported to reach the mainland, some traveling as far as Michigan, and the only
World War II casualties on American soil were six picnickers in Oregon who found one
of the balloons and tried to move it, causing it to explode.
flying a hot air balloon

Getting a hot air balloon to fly too close to the paper. It is best
✂ Materials
can be tricky. Here are a few help- to launch in a big open area or
• 18 sheets of 20" × 26"
ful hints: indoors with high ceilings, so the
(51 × 66 cm) tissue paper
balloon doesn’t get caught in
• Find a wide-open space and • stiff paper for template
trees or drift toward power lines
make note of the wind direction. • 5" (12.5 cm)-diameter circle of
or roads. Depending on the tem-
Seasoned balloonists release a tissue paper
perature and wind conditions, be
small rubber helium balloon to • 22 " (56 cm) length of coat
prepared to chase the balloon
test the winds. Only fly the bal- hanger wire or equivalent
for several blocks.
loon in light wind (or in a large or 6" (15 cm)-diameter ring from
auditorium for a more controlled lamp supplier (see Resources,
flight).  considerations page 140)
• The paper has to be light enough • Purchase a roll of tracing paper • template (see page 139)
to float when the balloon is filled or a thin Japanese paper to • craft knife or scissors
with hot air. The air temperature avoid gluing together pieces of • cutting mat (optional)
where the balloon is being flown tissue paper; however, this color- • glue stick
is also a factor. Good flights ful tissue paper balloon looks • pencil
require a large temperature dif- really beautiful when flown. • newsprint or scrap paper
ference between the air inside • The gore template (see page 139) • white glue
and outside the balloon, so the can be scaled up to create larger • glue brush (optional)
balloon will fly best on a cool day. balloons, and a quick search on • blow dryer
the Internet will lead to a variety • artist’s tape
• There are also safety consid-
of gore patterns for other inter- • heat gun or camping stove
erations. Paper burns, so take
care not to get the heat source esting shapes and sizes.
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a c
page 60
playing with paper
instructions
1 prepare the tissue paper

Take three sheets of tissue paper and glue them end
to end with a glue stick on the 26 inch (66 cm) edge,
coordinating the paper colors as desired. Make sure
there are no gaps in the glue coverage. The glued
pieces of paper should measure approximately 60
inches (152.4 cm) in length. Create six of these, and
stack the lengths one on top of the other (a).
2 cut the gores

Enlarge the template (see instructions on the left), trace
onto a stiff paper (brown Kraft or butcher paper work
well), cut it out, place it on top of the stack of tissue
paper, and trace the template pattern onto the top
layer twice, side by side. Using a craft knife or scissors,
carefully cut out twelve gores (b).
3 create the balloon envelope

Follow steps 2 through 4 from the Inflatable Ball pro-
ject (refer to pages 55 and 56) to create the balloon
envelope. Note that there are twelve gore sections
instead of eight; be sure to assemble all twelve before
sealing the envelope (the assembled balloon is called
an envelope) (e).
notes on teMplate preparation:
The gore pattern enlarges to 59 inches, which requires 4 cap the top
several sheets of paper and two stages of enlargement Gently arrange the tops of the gores in such a way
on a photocopier. I found it easiest to plot out on a that the opening at the top of the envelope is flat on
large sheet of kraft paper. If you want to enlarge it on the work surface. Apply glue to the outer rim of the
a photocopier, it needs to be enlarged 667%: first copy 5 inch (12.7 cm) circle of tissue paper and attach it to
it at 200% and then enlarge that pattern by 347%. the envelope, covering the opening (c).
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5 Fit and attach the Wire hoop d
The wire hoop serves two purposes: to weight
page 61
down the bottom of the balloon so that it is more
stable in flight and to create an opening, making it
easier to fill with hot air. Determine the size of the
wire hoop by placing it in the opening of the neck
of the balloon 1 inch (2.5 cm) from the bottom of
the gores. Remove the sized hoop and tape the
overlap. Make twelve tabs in the neck of the balloon
by cutting 1 inch (2.5 cm)-deep cuts between each

of the twelve seams. Set the wire hoop in place by
folding over and gluing the tabs (d).
6 Launch!
To fill the balloon, open the accordion folds and
hold it over the source of heat. If there is access
to electricity, the ideal heat source is an industrial
heat gun. A camp stove also works well and has the
advantage of being portable. If using a camp stove,
it must be fitted with a stovepipe for safety reasons
(tissue paper is highly flammable). Lower the neck
of the balloon over the stovepipe (it is helpful to
have another person hold the balloon until it is
inflated). Fill with hot air until a distinct upward pull
is felt. Let go and it will quickly ascend (e).
e
 tip:
Holes discovered after assembly and/or inflation can
be easily patched with pieces of transparent tape.
5 foot diameter inflatable ball.
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page 63
Reusable
Book Cover

P
rotect favorite books with this cover or make a reusable
jacket for notepads, memo books, and address and phone books.
Color coordinate a section in your library or highlight special books
by covering a group with the same paper.
✂ Materials
• strong cover-weight paper
• waxed linen bookbinding thread
• pencil
• ruler
• craft knife
• cutting mat
• bone folder
• double-sided tape
• sewing machine or awl
• foam core or Styrofoam
• needle
artist: Bridget O’Malley
Papers: Cave Papers in tangerine and teal
 considerations
• Waxed linen is strong and
durable, and the wax gives it
a sticky quality that aids in the
paper tidbits sewing process.
Cave Paper is a small hand-papermaking studio located in the
• Scoring is usually done on the
basement of a Minneapolis warehouse, where the walls are
outside of the paper or the
hewn rocks and the space extends further than the light does.
side that will be folded away
Proprietors Bridget O’Malley and Amanda Degener approach
from you.
making paper in a way that is as cavelike as the surroundings.
There is a certain rough elegance to the papers that begins • The book can be stitched on
and ends with the raw materials. They use flax and cotton rag the sewing machine, but the
along with natural dyes and pigments (indigo, walnut, persim- stitching will look machine
mon, red iron oxide, ochre, and black) to create strong, durable made rather than hand sewn
sheets suitable for book covers. and rustic.
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(1.3 cm) 1
⁄2" instructions
page 64
1 deterMine the paper size

Use the guidelines shown at the left
to determine the book jacket’s height
height of book
and width. Make a sketch indicating the
measurements—this will come in handy
during subsequent steps.
Height: the height of the book + 1" (2.5 cm)
Width: width of the book × 2, + the spine
playing with paper
thickness + 41⁄2" (11.4 cm)

Cut the paper to size (height by width).
(1.3 cm) 1
⁄2" 2 Mark and fold
2" (5 cm) width of book width of book 2" (5 cm) Find and mark the center of the book
+ 1⁄4" (6 mm) + 1⁄4" (6 mm) cover lengthwise. Divide the spine thick-
ness in half and measure that distance
width of spine
from the center in both directions. Score
and fold to create the spine. Tuck the
a actual book up against the spine and
mark the folds for the flaps, adding 1⁄4 inch
(6 mm) on each side so the book has a
bit of room to move in the finished jacket.
Score and fold the flaps (a).
3 cut and position the pocket

Cut or tear a small pocket from paper
for the front cover. Tack the pocket in
position on the front cover with double-
sided tape.
 tip:
Tear paper to make it look like it has a
handmade (deckled) edge by scoring it
along the tear line, folding it back and
forth along that line to weaken the fiber
bonds, taking a damp sponge and run-
ning it along the folded edge on both
sides, and finally tearing the paper along
the dampened edge. The resulting edge
will have a feathery, deckled look.
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b
page 65
4 pierce the holes
Run both layers of the pocket through
an unthreaded sewing machine set on a
wide straight stitch, remembering not to
pierce the top edge. Then, with the flaps
of the jacket folded over, run the top and
bottom edges of the book jacket through
the sewing machine (b). Alternately, use an

awl to pierce holes along the edges of the
cover, approximately 1⁄8 inch (3 mm) apart.
Set a piece of foam core or Styrofoam
beneath the paper for easy punching.
5 stitch
Tie a knot in one end of the thread and
cut the end of the thread short. Thread
the needle. Starting at one corner of the c
pocket on the inside of the book, hand
stitch through the holes using a running
stitch. Remove the double-sided tape
from the inside of the pocket. Tie off the
thread at the end of the pocket on the
inside of the jacket. Tie another knot in
the end of the thread and sew the top and
bottom edges of the book, knotting the
thread at each end (c).
 tip: hiding the knots

There are a couple of tricks to hiding the knots and tying off
the thread on the top and bottom edges of the cover. Tie a
knot at the end of the thread and begin stitching at the end
hole on the inside of the folded cover (between the two lay-
ers of paper). Take the needle from the inside, between the
layers, to the outside of the cover (the knot will be held by
the paper) and begin the running stitch, continuing across
the cover. There will be one rogue hole on the inside of the
cover that never has a thread going through it. To end the
sewing (because it is hard to tie a knot in between the two
layers of paper), backtrack one hole and insert the needle
so it just goes through one layer of paper, to the inside, and
then create an “S” stitch between the layers of paper and
around some of the existing stitches. This will be invisible
(detail) and will hold like a knot.
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page 67
One-Sheet Books
W
hen artist hedi kyle first discovered the pamphlet fold
in the early 1990s, she immediately started experimenting with new

ways to create simple book structures utilizing a single sheet of paper.
These projects make a great introduction to book arts for kids of any age. You can
also print patterns, drawings, or text on standard-size office paper, if desired.
✂ Materials
• text-weight paper
(models shown are from
11" × 17" [28 × 43.2 cm] sheets)
• craft knife
• cutting mat
• bone folder
artist: Hedi Kyle • straightedge
Paper: artist’s design printed
on text-weight French paper
V variations
There are many variations on
this fold. Once you’ve made the
four shown here, try variations
paper tidbits on the cuts, cut a shape in the
Paper and stationery stores have a variety of text-weight slit instead of a straight line, or
papers. Run standard paper sizes through an inkjet or laser vary the paper size.
printer to add content to your book.
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variation #1:
pamphlet fold
page 68
1
Fold a sheet of paper in half width-
wise. Open it up and fold it in half
in the other direction. Accordion
fold to create four double panels.
playing with paper
Unfold the paper and make sure

the middle vertical fold is a moun-
tain fold facing you. Cut along the
vertical fold between the two double
inner panels with a craft knife.
2
Mountain fold the paper in half
widthwise. Grab the top corners of
the two outer double panels and
push gently to pop out the inner
panels until they form a star shape.
3
Flatten the star by folding each outer
panel to an opposite side. Fold in half
to create a booklet.
This model is made from an 8½ × 11 inch (21.6 × 28 cm) sheet.
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variation #2:
extended pamphlet fold
page 69
1
Fold the paper in half lengthwise.
Open it up and fold it in half in the
other direction. Accordion fold to
create eight double panels. Unfold

the paper and make sure the middle
vertical fold is a mountain fold fac-
ing you. Cut along the vertical fold
between the six inner double panels
with a craft knife.
2
lengthwise. Grab the top corners
of the two outer double panels and
push gently to pop out three box-
shaped segments.
3
Collapse the box-shaped segments
in pairs over one of the side panels to
form a booklet. The other side panel
becomes the booklet’s cover as it
folds around the pages; it ends up
being a bit less wide than the pages
and the other cover.
This model is made from an 11 × 17 inch (28 × 43 cm) sheet.
1
3
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variation #3:
pop-up pamphlet fold

page 70
1
create eight double panels. Unfold
playing with paper
the paper and make sure the middle

vertical fold is a mountain fold facing
you. Make cuts as shown approxi-
mately 1 inch (2.5 cm) below and
parallel to the vertical fold between
panels 2 and 3 and 6 and 7. The mid-
dle panels and the two outer ones
remain uncut.
2
lengthwise. Grab the top corners of
the two outer panels and push gently
to pop out the cut sections. Panels
4 and 5 will also pop forward.
3 This model is made from an 11 × 17 inch (28 × 43 cm) sheet.

Flatten and fold the outer sections
forward to create covers.
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variation #4:
dos-à-dos
page 71
1
create eight double panels. In this

variation it does not matter whether
the center vertical fold is a mountain
or a valley. Unfold the paper and cut
off one panel. There are now seven
double panels. Cut along the hori-
zontal fold between panels 2 and 3
and 5 and 6. Panels 1, 4, and 7 remain
uncut.
2
widthwise. Grab the top corners of
the two outer panels and push gen-
tly to pop open two boxlike shapes.
It will be necessary to reverse some
of the folds to achieve this.
3
Collapse the pop-outs to create two
booklet sections facing in opposite
directions.
This model is made from an 11 × 17 inch (28 × 43 cm) sheet.
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page 73
Party Lights
T
hese lanterns are a simplified version of the collapsible chochin
lanterns, which were originally hung outside of small shops in Japan.

The support structure is thin basketry reed, but I’ve had fun experi-
menting with wire, string, and other basketry materials. The paper technique for
this project falls somewhere between collage and papier-mâché. It doesn’t take
long to make one of these simple designs, but finessing the collage can turn it into
a work of art.
instructions a
✂ Materials
1 Make a reed loop
• thin, flexible, strong paper
Tear several pieces of tape (ap-
• thin basket reed
proximately 1 inch [2.5 cm] in
• cardboard
length) and place them on your
• small piece of 18-gauge wire
work surface. Take a long piece of
• small glass candleholder
reed (approximately 10 feet [3 m])
• masking tape or artist’s tape
and wind a loop around the top of
• small yogurt container
the yogurt container, tucking it up
• scissors
underneath the lip at the opening.
• craft knife
Pinch the loop and carefully slip it
• cutting mat
off of the container. Wrap a piece
• white glue
of tape around the overlap, hiding
• small glue brush
the end of the reed and making
• hole punch
a loop (a). Slide the loop of reed
• eyelets and eyelet-setting tool
back onto the container and tape it
• needle-nose pliers
in place by putting a piece of tape
over the taped loop and wrapping
 considerations
it over the top of the container.
Basket reed can be found in
Affix the loop to the container in
some craft stores or it can be
one other spot, directly across
V variations ordered from specialty suppli-
from the first piece of tape.
These can either hang or sit on ers (see Resources, page 140).
a table. Try winding reed around These lanterns can be cast on
various containers or even PVC any type of vessel, but a plastic
piping to make a long tube that container is good because it
can be twisted into a ring or can be manipulated or even cut
wreath. Rope lighting, that plastic away if necessary for removal
tube lighting available at hardware after collaging.
artist: Helen Hiebert stores, can be safely slipped inside
Papers: Thai unryu for simple illumination.
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b 2 wind the reed
Continue winding the reed around the container,
page 74
spacing the rounds about 1 inch (2.5 cm) apart and

taping each round of reed to the container. Try to line
up the tape—this will make it easier to remove in step
5. Make another loop at the bottom, trim the reed
end, and then slip the loop off of the container while
carefully holding the end and tape the reed to itself,
forming a loop. Slip the loop back onto the container
and tape it in place on the container (b).
playing with paper
3 collage the paper

Cut or tear pieces of paper that are approximately
2 × 2 inches (5 x 5 cm). Hold one piece of paper over
a section of the yogurt container. Remove the paper
and apply a thin bead of glue to sections of reed,
eyeballing where the paper will lie. Lay the paper
down on the glued area and press it into place (c).
Glue the next piece in a similar fashion, but in addition
to putting glue on the reed, apply glue to the edge
of the section of paper that has already been glued
down, overlapping the papers. Continue gluing paper
until the container is covered.
Note: Cover the taped areas last. Once the rest of the
container is covered with paper, it will hold the reed in
place and the tape can be removed as the last pieces
c
of paper are applied (d).
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4 cover the bottoM e
Collage more pieces of small paper to cover the
page 75
bottom of the container. Allow the glue to dry.
5 reMove the container

Peel up and carefully remove the two pieces of tape
that are holding the reed to the container opening.
Hold the bottom of the container in your lap, grab
the top lip of reed, and with both hands, gently pry
the reed and paper off of the container. This will be

a bit harder if there is a lot of glue on the container;
if the paper rips, it is easy to patch with another
collaged piece. Loosen the piece of tape at the
bottom of the container and trim it. Cut a round
of cardboard and slip it inside the lantern bottom.
This creates a flat surface for a glass candleholder
(e). Trim the top edges, if desired, leaving about 1⁄2
inch of paper above the top ring of reed. Apply glue
to the edges and tuck them under to create a clean
edge at the top of the lantern.
6 attach the hanger

Punch two small holes on opposite sides of the top of
the lantern and set eyelets in them (see page 17). Take
a small piece of wire and bend it into an upside-down
“U” to make a hanger. With needle-nose pliers, bend
the ends of the wire up to catch in the eyelets (f).
f
paper tidbits
Thai unryu is one of the most common decorative papers
widely available in art supply stores and online. It comes
in a variety of colors and in a large sheet size, and the paper
is thin yet strong.
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page 77
Accordion
Night-Light Cover

T
his simple variation on an accordion fold tucks naturally
around a night-light and provides an elegant glow for trips down the
hallway at night. Choose cool, soothing colors of paper or warm ones
to change the mood. Change the shape of the night-light by varying the angle
of the pleats, or by creating multiple pleats. See page 25 for ideas.
✂ Materials
• Tyvek or lightweight cover stock
• small piece of cardstock for
scoring template
• 4 small slim magnets
• 4 small small steel nails
• craft knife
• cutting mat
• bone folder
• triangle
• pencil
• straightedge
• small hammer (optional)
Paper: Painted Tyvek
 considerations
Tyvek comes in white only, but
it is really easy to rub color
paper tidbits onto; its fibrous nature absorbs
Tyvek is a synthetic fibrous material, a registered trademark of watercolor, acrylic, or ink, which
DuPont. It is very strong and difficult to tear, but it cuts easily highlights the fibers, making for
with scissors or a craft knife. Tyvek is breathable (water vapor an interesting effect. Put a dab
can pass through it), but it is waterproof. Tyvek is used com- of color on a cotton swab and
mercially to make envelopes, car covers, house wrap, and more. rub it into the Tyvek.
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a b
page 78
playing with paper
instructions
1 accordion fold 2 Make a scoring teMplate

Cut plain or colored Tyvek to 10 inches × 11 inches (25.4 Use the cardstock to make a 2 1⁄4 inch (5.7 cm)-long
× 28 cm). Accordion fold the 11 inch (28 cm) dimension scoring template that is the width of two pleats
until each accordion is approximately 1⁄2 an inch (1.3 cm) (approximately 1 1⁄4 inch [3.2 cm]) and cut the corners
wide and there are sixteen pleats (see instructions on at a 45-degree angle on one end.
how to fold a perfect accordion on page 16) (a).
3 score
Use the scoring template to score over each pleat. It is
important to begin and end with a half-scored section.
Carefully fold each scored angle in one direction and
then go back and reverse fold each angle (b).
V variations
Change the angle of the perpendicular fold to create
a variety of shapes, lengthen the paper to change the
accordion fold sizes, or vary the way the paper meets
the wall by playing around with where it is attached.
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c d
page 79
4 pleat
Gently unfold the entire sheet of paper and fold it
slightly along the invisible line that runs between the
tips of the points (these points look like the rooftops
of a row of houses). Keeping the long sections of the
pleats intact, carefully reverse the folds of the shorter
sections while popping them into place and collapsing
the folds (c).
5 attach to the wall

I used small magnets to connect my sconce to the wall.
Hold the night-light cover over the fixture and put four
small marks on the wall. Push or lightly pound four tiny
nails into the wall. Set the night light cover over the nails
and attach the four magnets to the nails, sandwiching
the paper in between (d).
a note about safety:

This project is designed for a small 7-watt night-light
bulb that gives off very little heat. The paper sits about
2 inches (5 cm) from the bulb in any direction, and the
opening at the top of the accordion shade allows the
heat to escape.
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page 80
artist: Hedi Kyle

Papers: wrapping paper, office paper
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page 81
Diagonal Pocket Folder
T
he cover for this booklet is made from just one sheet of paper.
Hedi Kyle developed this structure using origami and other folding tech-

niques. The booklet is completed when a simple signature (a stack of paper
folded in half ) is pamphlet stitched into the center of the cover.
a b
✂ Materials
• decorative text-weight paper
• office-type paper for the
pamphlet
• bookbinding thread
• craft knife
• cutting mat
• pencil
• straightedge
• bone folder
• small scrap of Styrofoam or
cardboard
• awl
• needle
 considerations
Choose a text-weight paper
that is strong and flexible. A
cover-weight paper will be too
thick to accommodate all of the
instructions folds in the pocket folder, but
the paper does need to be stiff
1 Make the first folds 2 roll the folds enough to hold up to wear and
Cut the pocket folder paper to With the paper in a vertical tear because it will function as
12 × 20 inches (30.5 × 50.8 cm) position, make a mark 8 inches a book cover. The pages for
(grain short: see note on page 12). (20.3 cm) up from the bottom the pamphlet can be created
Place the paper face down on the and fold the bottom edge of the from any type of text-weight
work surface. Mark the center on paper up to that fold. Fold that office paper.
both sides and fold both of the folded section up and over itself
long edges to the marks. Unfold two more times, creasing it each
(a). time. Unfold to reveal three 4 inch
(10.2 cm)-wide sections. (The top
8 inch [20.3 cm] section remains
unfolded) (b).
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c d e
page 82
playing with paper
f g h
3 pleat 5 Make More corner folds

Reverse fold #2 and bring it up to meet fold #3, forming Flip the section of paper (with the folded corners) up
a pleat. Fold the bottom edge up to meet the pleated toward the top. Fold the bottom two corners (the new
fold (c). ones that were hidden beneath) up at 45-degree angles
to meet the horizontal fold line (e).
4 Make the corner folds
Fold in the two bottom corners at 45-degree angles, 6 refold the long verticals
lining them up with the two long vertical folds (d). Fold the paper back down along that horizontal fold
line, covering the bottom corners that were just folded.
Fold the long vertical sides into the middle (f).
7 Make More angles

Fold the top corners down at 45-degree angles so that
they meet in the center. Fold the bottom edges back
paper tidbits up, aligning the top edges (g).
Wrapping paper is a huge industry today, with paper
stores carrying specialty printed sheets of paper for gift 8 score
giving. But there is a shocking price tag to the environ- The next two steps are tricky! Take a bone folder and a
ment: in the United States, four million tons of waste is straightedge and score well along the edge of the last
generated annually from wrapping paper and shopping fold, creasing the layer of paper directly beneath the
bags! Why not upcycle those gently used sheets instead of fold (h).
sending them to the landfill?
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i j k
page 83
l m n
Start
Finish
9 squash fold w bind the paMphlet

Unfold the last two folds and stick a finger between the Set the spine of the folded signature on the fold of the
two layers of paper (i). Fold the paper along the crease pocket folder. Set a piece of cardboard or Styrofoam
that was just made and flatten the folds, creating a kite underneath and with an awl, punch three holes through
shape (j). Repeat on the other side. the signature and the cover, one in the middle, and one
1
⁄2 an inch (1.3 cm) from each end (m). Cut a piece of
m tuck thread three times the height of the cover and thread
Tuck one kite-shaped section into the other (k). Hold the needle with it. Following the diagram above, draw
the tucked sections together and tuck them up under- the needle through the center hole, starting on the
neath, creating a triangular top (l). inside of the signature. Bring the needle through the
top hole and back to the inside. Skip the center hole
q fold the pages and bring the needle out through the bottom hole.
Cut four to six sheets of office paper to 4 1⁄4 × 8 inches Bring the needle back through the center hole and into
(10.8 × 20.3 cm) and stack them together. Fold the the inside of the booklet. Tie a knot around the thread
stack of pages in half to 4 1⁄4 × 4 inches (10.8 × 10 cm). running along the spine, and cut the ends to approxi-
mately 1⁄2 an inch (1.3 cm) (n).
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page 84
artist: Scott Skinner

Paper: itajame-decorated Japanese
paper by Susan Kristoferson
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page 85
Sode Kite
W
ho doesn’t love flying a kite and watching it soar in the sky?
The sode kite originated in Japan, resembles a kimono, and was

traditionally built and flown to ensure the health and happiness of a
newborn boy. Former Air Force pilot instructor Scott Skinner has been a dedicated
kite maker, flier, collector, teacher, and philanthropist of the sport with the Drachen
Foundation in Seattle for three decades. He creates art kites—like the one pictured
here—combining traditional American quilt designs with Japanese kite shapes
and motifs.
24" (70 cm)

✂ Materials
• strong, thin paper
• bamboo spars (see Resources,
⁄4" (6 mm) Slit
1
⁄4" (6 mm) Slit
1
page 140)
• 4 yd (3.7 m) cotton, linen,
or Dacron line
kite body 13 1⁄2" • kite-flying line and winder
(34.3 cm)
(20-pound test line strength)
23" (58.4 cm) • 5 or 6 yd (4.5 or 5.5 m) of
macramé yarn (optional)
• pencil
27" • craft knife
⁄4" (6 mm) Slit
1
⁄4" (6 mm) Slit
28" (71 cm)
(68.6 cm) • cutting mat

• straightedge or ruler
• white glue
• glue brush
(9 cm)
11 1⁄2" (29 cm) • needle
3 1⁄2"
 considerations
13 ⁄2"
1 Ideal paper qualities for this
6 1⁄4" (15.9 cm)
(34.3 cm) project include a strong paper

Slit that can withstand the wind,
⁄4 "
1 a colorful and/or translucent
lit top
)S (6 paper that will catch the light,
m m triangle
m m and a large sheet of paper (or
6 )S Piece
"( lit try piecing together smaller
⁄
1 4
sheets, which can create lovely
patterns against the sky).
⁄4" (6 mm) Slit

1
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kite terMinology:
a
Bamboo spars form the support structure for the
page 86
kite. They have a “skin side,” which is green and

brown, and a “pulp side,” which is light tan. Spars
are a specialty item available from kite suppliers (see
Resources, page 140). Or, if you are handy and have
the right tools, bamboo stakes sold in garden shops
can be cut and split. Green bamboo from your own
garden is another option, although it is best to dry it
out before making the kite.
playing with paper
The sail of a kite refers to the paper.

The bridle of a kite is the line that connects directly
to the kite. This rigging holds the kite at its flying
angle relative to the wind.
The wing is the upper portion of the kite where the
lift is produced during flight.
instructions
b
1 draw the kite outline

Lay the paper out on a work surface. Follow the
diagram (see page 85) to draw the kite body and the
small triangular piece onto the paper with a pencil.
Cut out the pieces using a craft knife and straight-
edge. Remember to cut the small slits in the kite
body, the two diagonal slits “under the arms” of the
kimono, and the two slits on the triangular piece.
2 cut the spars

Cut the following lengths of bamboo:
One vertical spar: 30 1⁄2 inches (77.5 cm)
Two horizontal wing spars: 25 inches (63.5 cm)
(mark the center on each of the horizontal spars)
One bottom skirt spar: 12 inches (30.5 cm)
Note: During assembly, keep in mind that the kite
surface (and spars!) must be symmetric for stable
and directional flight. Measurements are given as
guides only; skilled kite makers modify traditional
designs, being careful to maintain symmetry and
structural integrity.
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3 attach the triangle c
With the kite paper face down on the work surface,
page 87
fold it in half vertically, marking the center (the spine).
Unfold (a). Glue the triangular piece onto the top of
the kite, centering it and overlapping by 1⁄2 an inch (1.3
cm). Fold a 1⁄2 inch (1.3 cm) seam allowance on the
two equal sides of the triangle, overlapping the paper
at the corner. Glue the seam allowances in place (b).
4 fold the seaM allowances

Using a sharp pencil and pressing firmly, mark a
1
⁄2 inch (1.3 cm) seam allowance around all the edges
of the kite. The pressed-in pencil line will score the
seams, enabling them to fold accurately. Fold all of
the seam edges up, but do not glue yet.
5 glue the spars

Lay the vertical spar skin side down, threading the
bottom end through the center slit and keeping the
top flush with the top of the triangle. Lay the top and
bottom wing spars horizontally, with about 1⁄2 an inch
(1.3 cm) of each end extending out through the side
slits (c). Lay the bottom horizontal skirt spar along the
bottom seam allowance, slipping the ends through
the slits. With all four spars in place on the paper,
apply a line of glue along the center spine. Flip it over
and press it into place, keeping it on the center line.
Apply glue to the pulp side of one wing spar and flip
d
it into place, using the seam as a guide. Repeat with
the second wing spar. Follow the same procedure for
the small skirt spar at the bottom. When all four spars
are in place and the glue is dry, apply a bead of glue
along all seam allowances and fold the paper snugly
over the spars, overlapping the corners (d).
paper tidbits
Itajame (ee-tah-ji-may) is a traditional Japanese fold-
and-clamp shibori, or tie-dye, technique. Ideally,
thin, strong, absorbent papers are folded in various
patterns; the folds are gently held in place with blocks,
sticks, or shaped pieces; and the edges and corners of
the folded paper stacks are then dipped into colorful,
lightfast, wash-fast inks. When opened flat, beautiful
patterns emerge.
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e f
page 88
playing with paper
6 tie the bowlines g

Cut two pieces of cotton line that are slightly longer
than the wing spars. Working on the back of the kite
with the sail on the table, tie one end of string to the
exposed spar end on one side of the top wing spar.
Pull the line almost taut and secure the other end to
the opposite end of the spar. Do the same with the
bottom wing spar and the remaining length of string.
The bowlines will be adjusted when preparing the kite
for flight (as described in the first bullet of step 10—
do not adjust the bowlines until ready to fly) (e).
7 add the bridle loops

Turn the kite over so that the front side is face up. At
the intersections of the horizontal wing spars and the
spine (the neck and waist of the kimono shape), use
a needle to poke two holes on either side of the spar
on the diagonal. Thread one end of the cotton line
through the sail from the front side of the kite (the
side that will be seen when flown). Then bring the line h
back through the other hole to the front so that both

ends are on the front side of the kite. Make the two
ends equal and tie a square knot securely over the
spar intersection. Then tie the two free ends together
in a simple overhand knot approximately 2 inches Lark’s Head Knot
(5 cm) from the first knot. Trim the ends (f).
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8 add the bridle line i
Cut a piece of cotton line approximately 2 yards
page 89
(1.8 m) in length. At each end, fold over about 6
inches (15 cm) of line and tie an overhand knot close
to the line’s end. This forms a loop at each end of
the line. With one loop, fold over the short bridle
loop at the top of the kite and secure a lark’s head
knot (h) behind the bridle-loop knot. Do the same
at the “waist” bridle loop. The bridle is now securely
attached to the kite but can be easily removed in

case of damage, tangling, or fraying (g).
9 add the adjustable bridle point

There is now a long loop from the neck to the waist of
the kite/kimono. With the kite flat on the table, lift the
top of the bridle line vertically above the neck point,
forming a right triangle with the line (i). Lay the line
down along the wing spar. Cut a new 6 inch (15 cm)
length of line and make a small loop, tying it closed
with a simple overhand knot (j). Join this small loop
with the bridle line at the open point of the triangle
with a lark’s head knot (h).
m let’s go fly a kite!

Attach the kite-flying line to the adjustable bridle line
and the kite is ready to fly, but here are a few kite- j
flying pointers:
• When preparing the kite for flight, wrap each
bowline (the lines tied onto the wing spars) around
one of the wing spar ends until each wing spar
curves and the line sits about 3 inches (7.6 cm)
above the spine on the back of the kite. This bow
is very important for the directional stability of the
kite in flight.
• This kite will fly without a tail if bridled perfectly.
Generally speaking, if the kite loops and dives
erratically, the bridle point is too high and must be
lowered along the bridle line (make small adjust-
ments of 1⁄4 inch [6 mm] or less). If the kite just pulls
but shows little inclination to climb vertically, the
bridle point is too low (raise the bridle point along
the bridle line in small increments). If you are a first-
time kite flyer, you might try adding 5 or 6 yards
(4.5 or 5.5 m) of macramé yarn to the bottom of
the spine (as a tail) to stabilize the kite’s flight.
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18}
project
page 90
artist: Roberta Lavadour

Papers: ledger paper, green stripe
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page 91
Expanding
File Folder Book

T
he expanding file folder has been a staple in the home and office for
decades. Creating a folder from scratch opens up possibilities for using different
papers and playing with proportions. Artist Roberta Lavadour developed this
structure for a workshop and had her students create unique expanding file folder books
to hold a set of recipes, which they printed and exchanged. The folder can be adapted to
house CDs and DVDs, business cards, postcards, and more.
✂ Materials
• text-weight paper
• cover-weight paper
• cardstock for scoring template
• Velcro dots
• craft knife
• cutting mat
• ruler
• bone folder
• pencil
• double-sided tape
 considerations
Choose a strong but fairly light-
weight paper for the accordion
paper tidbits section. Practice this fold with a
Check local resale or print shops for vintage maps, ledger lightweight paper before tack-
sheets, discarded printed papers, or old blueprints. There is ling thicker sheets. If the folder
also a plethora of interesting printed wrapping papers that are will be used frequently, choose
sold by the sheet. German Ingres paper is available in most art a strong, durable paper. The
supply stores and is easy to work with, readily available, and wrapper is cover weight.
inexpensive.
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a b
page 92
playing with paper
instructions
c
1 accordion fold the text-weight paper

The sample shown here is 14 1⁄2 × 17 inches (36.8 ×
43.2 cm), designed to accommodate 4 × 6 inch
(10 x 15 cm) postcards. If using paper printed on
one side only, begin with the paper printed side up.
Follow the instructions for folding a sixteen-panel
accordion on page 16. Unfold the entire sheet and
place it unprinted side up (a).
2 score two perpendicular lines

Make a scoring template out of cardstock that mea-
sures 4 × 17 inches (10 × 43.2 cm). Place the template
along one long edge and score a line along the length
of the paper. Repeat on the other side. Using the tem-
plate will ensure that the next folds are accurate (b).
3 repleat
Fold each side along the scored line toward the cen-
ter of the sheet. Refold the paper into the concertina
folds, making sure that the first fold is a mountain fold
(see page 16) (c).
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4 fold the first triangles d
Place the folded paper in front of you so that the cut
page 93
edges are on your right and the folded edges are on
your left. Fold the top right corner down, forming a
right triangle against the left side of the concertina.
Repeat at the bottom of the page, folding the bottom
right corner up and forming a right triangle against
the left side of the concertina (d).
5 fold More triangles

Open the first page, holding it straight up. This will
form a straight vertical plane to fold the next two
panels against. Replicating what you did with the first
panel, fold the top right corner of the next section
down into a right triangle and fold the bottom right
corner up to create a right triangle. (Notice that the
first and last panels are two thicknesses of paper; all
others are four thicknesses.) Work through each set
of panels, using the previous panel held vertically to e
keep your folds square (e).
6 reverse the folds

When you get to the last panel, go through the
stack in the other direction, reversing the triangle
folds (so they are creased in both directions). Don’t
make new folds! Next, unfold all of the triangles and
return the concertina panels to their original rectan-
gular shape. (In pop-up lingo, this double creasing is
referred to as “exercising the folds.” This preparation
will make assembly easier, much like preparatory
folds in origami) (f).
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g
page 94
7 pop the corners in and pleat

Before beginning this step, unfold the entire sheet
once more and place it printed side down. The first
fold in the center is a mountain fold and the first side
panel folds are valley folds. Refold the entire accor-
dion, reversing the center panel folds, so that they
playing with paper
are aligned with the side folds and the first fold is a
valley fold. Fold the side panels up so that they are
at a 90-degree angle to the center (g). What comes
next is tricky, so take your time. Looking at the corner
of the pleat, you are basically folding each diamond
shape into fourths. Find the first diamond (skip the
half-diamond at the very end) and fold it in half
vertically by bringing the outer left and right points
together, training the base and side folds to the
inside. Then fold it in half horizontally, reminding the
folds to maintain their proper direction. The first and
last panels only have half a diamond shape and can
simply be pinched together and folded up against the
sides of the wrapper (h).
Note: It is helpful to notice that the concertina folds
on the base and sides will always be in the same
direction/orientation. Only on the short portion of
the pleat that folds back over itself, along the center
line of the diamond shape, is the direction of the fold
inverted.
h 8 the non-adhesive wrap

This is a clever wraparound cover! Cut a piece of
cover-weight paper to 7 × 17 1⁄2 inches (17.8 × 44.5 cm).
Place the paper on the work surface in a horizontal
position, printed side down. Starting at the right
edge, mark and score vertical lines at 4, 8 1⁄4 , 9, 13 1⁄4 ,
and 13 3⁄4 inches (10, 21, 23, 33.7, and 35 cm). Fold
along the score lines (i ).
Taper the ends in the 4 inch (10 cm) section if needed
and tuck them into the front pocket of the concertina.
Use double-sided tape to tack the back edge of the
concertina to the cover. Apply four small Velcro dots
in the corners to make a closure (j).
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i
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j
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(Ray) #175 Dtp:225 Page:96
gallery:
3
TAKING PAPER TO NEW DIMENSIONS
}
chapter
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} valérie buess: paper sculpture
page 98
Valérie Buess creates organic forms which evolve from pieces of magazines, train schedules, books, etc. It is the useless quality of these
paper that used to be trees as her art finds its way back, literally, to its materials that inspires her, as she takes the waste and recycles it into
roots. Over the past twenty years, Buess has developed various tech- new dimensions.
niques for working with waste paper: newspaper, phone directories,
playing with paper
Photo: the artist

 Ready!, detail, 2011
Photo: the artist
Telephone directory, magazines,

4¾" × 6" × 4¾" (12 × 15 × 12 cm)
 Storehouse of Joy, detail, 2011

Magazines, drawing paper,
10" × 10" × 4" (25.5 × 25.5 × 10.5 cm)
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page 99
 Wild Lace, detail, 2008
Pages of old books, 13" × 10¼" × 11³⁄8"
(33 × 26 × 29 cm)
gallery
Photo: the artist
Photo: Susann Babion
Wolke 3 , detail, 2005

Telephone directory, 23 2⁄3" × 391⁄3" × 25 2⁄3"
(60 × 100 × 65 cm)
Photo: the artist
 Amazonenhelm, 2004
Telephone directory, 8 7⁄8" × 6 1⁄3" × 8 2⁄3"
(22.5 × 16 × 22 cm)
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page 100
jocelyn châteauvert:
handmade paper jewelry and installation
Jocelyn Châteauvert earned an MFA in metalworking and paper responds, then shrinks, taking its final form from the air as it
jewelry and worked extensively with Timothy Barrett in hand paper- dries. Châteauvert has received several prestigious awards for her work,
making at the University of Iowa. Châteauvert’s sculptural forms including recognition as the first artist working in a craft medium to
playing with paper
emerge from the paper she makes by hand: after pressing, she uses her receive a Smithsonian Artist Research Fellowship. She pursues her
hands to crease, fold, and pinch, integrating structure with design. The work full time, creating jewelry, lighting, sculptures, and installations.
 Fresh, 2007
Wall sconce, artist-made abaca paper;
petals: cut, layered, and pressed; center:
hand-twisted, wood base, internally
lighted, 16" (40.7 cm) diameter
Photo: Mark Tade

 Lily Clouds, 2007
Installation of approximately 200 lily pads, artist-made
flax paper, 12" to 40" (30.5 to 101.6 cm) diameter.
Permanent collection of the Medical University of
South Carolina, Charleston, SC.
Photo: Mark Tade
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page 101
gallery
Photo: Rick Rhodes
 Grasses, 2008
Sculpture, artist-made abaca paper;
fronds: cut, rolled, and air-dried,
16"h × 22"w × 9"d (40.6 × 56 × 23 cm)
Photo: Mark Tade
 Fungi, 2012
Brooches, over-beaten flax,
formed pulp, acrylic paint,
mirrors, 2½" (6.4 cm) diameter
Photo: Jocelyn Châteauvert
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page 102
béatrice coron: paper cutting

Born and raised in France, Béatrice Coron has lived in Egypt, material, the profusion of individual stories creates a coherent world.
Mexico, and China and now lives in New York City. She worked at a In paper cutting, as in life, everything is connected. Coron’s paper cut-
series of odd jobs before cutting stories out of paper to create illustra- tings have been shown at the Museum of Arts & Design in New York,
tions, artists’ books, fine art, and public art. Using silhouettes, she has and she spoke about her creative process at TED in 2011. Her work is
invented situations, cities, and worlds composed of memories, word in major collections, including the Metropolitan Museum of Art in
playing with paper
associations, ideas, observations, and thoughts. Her silhouettes are a New York and the Walker Art Center in Minneapolis, and her public
language she has developed over the years. Cut from a single piece of art can be seen in subways and airports.
Photo: Béatrice Coron

 Evening Song, 2009
Arches paper, 44" h × 7½" w
(111.8 × 19.1 cm)
 CurioCity, 2011
Cut Tyvek, 44½" × 44½"
(113 ×113 cm)
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page 103
gallery
 Fashion Statement, in collaboration
with Elizabeth DeSole, 2010
Cut and sewn Tyvek, 40" h × 20" w × 20" d
(101.6 × 50.8 × 50.8 cm)
Photo
: Etie n
n e Fro
ssard
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page 104
vincent floderer: paper crumpling

Trained in Paris and Germany, Vincent Floderer has a unique origami conventions in Europe, the United States, and Japan. He
technique of crumpling sheets of paper in a precise and controlled way, founded CRIMP, the Center for Research on International Paper
exhibiting the extraordinary elastic properties of paper. Floderer is a Folding. Floderer exhibits his work widely and has created window
performer and an origami teacher who has been a guest at numerous displays for Printemps, Guerlain, Christofle, and Mellerio in Paris.
playing with paper
Photo: Alain Hymon
 Clitocybe, 2007
Tissue paper, 11 7⁄8" × 6" to 22 2⁄3" × 192⁄3"
(30 × 15 to 58 × 50 cm)
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page 105
Photo: Alain Hymon
gallery
Photo: Romain Chevrier
 Frou Frou, created with Konstanze Breithaupt, 2006
White tissue paper, 27½" × 19 2⁄3" (70 × 50 cm)
 Flower Fall, 2005

Tissue paper, 19 2⁄3" × 19 2⁄3" (50 × 50 cm)
 Crumpled SIA (Spring into Action), created

by Manuel Madaleno, 2006
Ph
oto
Alios wrapping paper, 67" × 19 2⁄3" (170 × 50 cm),

:A
variation on Jeff Beynon’s Spring into Action model

lain
Hy
mo
n
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page 106
peter gentenaar:
handmade paper sculpture
In Peter Gentenaar’s work, his love for nature and the materials it possibilities for shapes and forms in paper. Gentenaar developed his
produces and his fascination with technique are integrated. Despite his own specialized equipment (a vacuum table and Hollander beater)
Dutch roots (a culture orientated in fine painting), he found paper fiber to process long flax fibers and create a shrinking pulp for his sculp-
playing with paper
to be a material much closer to nature and with much more character tures. The tension created between the pulp and the bamboo as the
than he ever found with paint. He began experimenting with paper sculpture dries gives the material its form. Gentenaar and his wife,
in 1972 and moved from being an artist who used paper as a substrate Pat Gentenaar-Torley, started the Holland Paper Biennial in 1996
to a papermaker; while doing so, he found endless amounts of new and publish a book for each biennial.
Photo: Pat Gentenaar-Torley
 Anne in Paperland, 2011

Linen, pigment, and bamboo, 10' (3 m) tall,
installed at Pulchri Studio, July 2011
Paper dress by Peter George d’Angelino Tap
 Eternal Flame, 2011

Linen, pigment, and bamboo,
74¾" × 59" (190 × 150 cm)
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page 107
gallery
 Witte Wolk 3 , 2011

431⁄3" × 39 1⁄3”× 31½"
(110 × 100 × 80 cm)
 Expanding Memory, 2010

55" × 47¼" × 17¾"
(140 × 120 × 45 cm)
 Golvende Harmonie, 2011  Blokken op Golven, 2011

Linen, pigment, and bamboo, Linen, pigment, and bamboo,
78¾" × 63" (200 × 160 cm) 108¼" × 57" (275 × 145 cm)
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page 108
pat gentenaar-torley:
handmade paper pulp paintings
Pat Gentenaar-Torley was born in San Francisco and studied at pours thin, often transparent layers of pulp next to and on top of each
the California College of the Arts in Oakland. Since 1971, she has been other, sometimes shaping them with a knife as she works. She has an
living and working as an artist in the Netherlands. She and her hus- uncanny talent of painting “upside down,” beginning with the front of
playing with paper
band, Peter Gentenaar, began experimenting with paper in the early the painting on the surface of a vacuum table and gradually building up
1970s. Gentenaar-Torley loves paper’s natural, organic structure and the pulp layers on the back, finishing with a layer of hemp and then a
has gradually discovered a world of variety in its fibers. Over the years, layer of cotton pulp (like the canvas of a painting). Water, in all its
she has developed her technique of pulp painting with pigmented paper forms, is one of her favorite subjects, as is plant life. This seems logical
fibers in a watery solution. Using the colored pulps, Gentenaar-Torley because they are the basis of paper!
Photo: Piet Gispen

Photo: Piet Gispen
 Flying Water Dragon/Parrot Tulips, 2011

Paper pulp painting using pigmented cotton, linen,
hemp, straw, and kozo, 23" × 20½" (58.4 × 52 cm)
 Moonlit Day, 2008

hemp, straw, and kozo, 39" × 26" (99 × 66 cm)
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page 109
Photo: Piet Gispen
gallery
Photo: the artist
 Imadata Pool, 2010
hemp, straw, and kozo, 131⁄3" × 9½" (34 × 24 cm)
 Psychedelic Ducks, 2005

hemp, straw, and kozo, 48" × 30" (122 × 76 cm)
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page 110
eric gjerde: origami tessellations

When asked by his parents what he wanted to be when he grew up, love of paper and became fascinated by the transformation of flat sheets
Eric Gjerde replied, “A paperologist.” Throughout his childhood of paper, manipulated only with his hands, into patterns of complexity
and adolescence, he enjoyed paper crafts and origami—a frequent and beauty. This form of alchemy never ceases to amaze him, and it
birthday gift was stacks of paper and rolls of tape. After preparing for a provides a continual source of inspiration. These days, Gjerde works
technology career, Gjerde kept looking for an artistic outlet to balance out of his studio in Strasbourg, France, focusing on the geometric art of
playing with paper
his creative side with his professional life. He returned to his childhood origami tessellations.
Photo: Steve Mann
Photo
: Ste
ve M
ann
 Aztec Twist, 2007
Elephant hide paper,
7 7⁄8" × 7 7⁄8" (20 × 20 cm)
 Water Bomb, 2006

Elephant hide paper,
7 7⁄8" × 7 7⁄8" (20 × 20 cm)
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Photo: Steve Mann
page 111
gallery
 Pinwheels, 2007
Japanese unryu paper,
10" × 10" (25 × 25 cm)
Photo: Steve Mann
Photo: Steve Mann
 Flowers, 2006  Tiled Hexagons, 2006

Metallic wrapping paper, Elephant hide paper,
11¾" × 11¾" (30 × 30 cm) 7 7⁄8" × 7 7⁄8" (20 × 20 cm)
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page 112
dj gramann ii: paper fashion

DJ Gramann II is a prolific creator of wearable art. His dynamic exciting career is a line of clothing made entirely of newspaper, trash
body of work has included couture designs, period costumes, strange bags, and other recycled items. In these pieces, glamour icon meets
creatures, and even lovable puppets. After earning a BFA from the global consciousness in a way only a couture designer could manifest.
University of North Carolina School of the Arts, Gramann worked Featured at the City Pages 25th Birthday Party, two dozen looks, rang-
in New York, London, and Amsterdam. Committed to designing and ing from glam to ham, received great acclaim. Gramann’s unusual use
playing with paper
constructing the finest handmade garments, he now operates Gramann of materials only hints at his level of skill as a traditional couturier.
Studios, located in Minneapolis, Minnesota. One facet of Gramann’s
Photo: Sean Smuda, Model: Sara Stevenson Scrimshaw

Photo: Tony Nelson, Model: Sara Stevenson Scrimshaw
 Dance Captain, 2004  Show Poster, 2003

Newspaper, bottle caps, jute twine, Size 6 Voltage: Fashion Amplified show poster, trash bags, Size 6
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 Ivana, 1998
Newspaper, trash bags, Size 12
page 113
gallery
Photo: Dietrich Gesk, Model: Nellie Basset
Photo: Dietrich Gesk, Model: John Christiansen
Photo: Tony Nelson, Model: Navita
 MuMu Land, 1998  Towering, 2004

Newspaper, trash can liners, twist ties, Newspaper, masking tape, twine, Size 2
cardboard, plastic wrap, Size 4
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page 114
paul jackson: paper folding

Paul Jackson has been a professional paper artist since 1982. He addition, he has run Sheet to Form workshops for students of art and
is best known for developing a series of alternative folding techniques design at more than fifty universities worldwide and is the author of
such as crumpling, one crease, and curved ribs (featured here). In more than thirty books.
playing with paper
Photo: the artist
Photo: the artist
 Brown Bowl, 2006  Stack, 2006

Folded 100gsm white hammered paper, Folded 100gsm white hammered paper,
dry pastel, sealant, 6" tall (15 cm) dry pastel, sealant, 7" tall (17.8 cm)
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 Vessel, 2006
Folded 100gsm white
page 115
hammered paper, dry pastel,
sealant, 8" tall (20 cm)
gallery
Photo: the artist
Photo: the artist
Photo: the artist
 Recliner, 2006  Pod, 2006

Folded 100gsm white hammered paper, Folded 100gsm white hammered paper,
dry pastel, sealant, 15" long (38.1 cm) dry pastel, sealant, 7½" tall (19 cm)
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page 116
hedi kyle: artists’ books

Hedi Kyle’s work focuses on the book as a three-dimensional object experiments, adapts, and diverts to rebuild. She takes the freedom
that still holds traces of its historical predecessors. She is drawn to to concoct features and materials from many sources. The book as a
unusual forms to free the book of its traditional purpose and explore mechanical object of extraordinary diversity never loses its fascination
new ways of reading and viewing. Kyle transforms what she sees; she and inspires her ongoing investigation.
playing with paper
Photo: Paul Warchol

Photo: Paul Warchol
Triangular one sheet books, 1993  Tangram, 2009

Paper, silkscreen, 6" × 3" and 3" × 1½" Folded typographical map, cardboard tray,
(15 × 7.5 cm and 7.5 × 3.8 cm) 5" × 5" (12.7 × 12.7 cm)
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 Maze, 2008
Photo: Paul Warchol
Interlocking loop structure, paper,
page 117
drawings, inkjet printed stickers,
Plexiglas, 5" × 2½" (12.7 × 6.4 cm)
gallery
Photo: Paul Warchol
Photo: Paul Warchol
 Scroll Pull, 2011

Handmade paper, drawings,
8¼" × 10" (21 × 25.4 cm)
 Triptych Agenda, 2011

Paper, tape, leather, 7" × 4" × 1"
(17.8 × 10 × 2.5 cm) closed
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page 118
michael g. lafosse and

richard l. alexander: origami
Michael G. LaFosse trained as a biologist but has been working for Together, LaFosse and Alexander design the origami and then produce
more than thirty years as an origami artist. He creates nature-inspired custom handmade paper for each new creation. Their works have
sculptures, often studying his subjects in their natural habitats. LaFosse graced museums worldwide, and their commercial art draws atten-
playing with paper
credits Akira Yoshizawa for showing him this way of creative work tion to print ads, products on TV, and in upscale retail stores such as
in origami art and study. In 1996, Richard L. Alexander and Hermès of Paris and Saks Fifth Avenue. Together, they have authored
LaFosse cofounded the Origamido Studio, a teaching center, gal- more than sixty books, kits, and video publications about origami and
lery, and origami design and papermaking studio, in Massachusetts. related paper arts.
Photo: Michael G. LaFosse
 American Alligator, designed in 2006 by Michael G. LaFosse,

folded in 2007 by Michael G. LaFosse and Richard L. Alexander
Handmade paper of premium abaca fiber by Richard L. Alexander,
18" (45.7 cm) finished length, folded from a 6' (1.8 m) square
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page 119
gallery
Photo: Michael G. LaFosse
 Wilbur, the Piglet, designed and folded
in 1991 by Michael G. LaFosse
Handmade paper of 20% cotton linters
and 80% abaca fibers, 9" (23 cm), folded
from a 12" (30.5 cm) square
Photo: Richard L. Alexander
 Big Brown Bat, Eptesicus fuscus, designed in 1978, folded

in 1989 by Michael G. LaFosse
Handmade paper of overbeaten kozo fiber, 10" (25.4 cm)
finished length, folded from a 10" (25.4 cm) square
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page 120
barbara mauriello: book arts

Barbara Mauriello’s academic background in literature and the transformation of materials. A folded and cut piece of paper becomes a
fine arts led her more than thirty years ago to an apprenticeship at landscape of mountains and valleys. Add paint, and you’ve got the sea
The Center for Book Arts in New York City, a place where she and the sky, a game of puzzle blocks, and a poet’s house. When she’s
teaches today. In all of her years of teaching and making books, she working, she likes the surprise of not quite knowing what the paper will
finds herself returning to the same themes: color, form, and the do as it’s being manipulated.
playing with paper
Photo: Jeffrey Vrock
 Artist’s Housing: For Emily Dickenson (2004)

Box: hand-painted paper over boards; Scrolls: poems written
in pencil on 19th century paper, tied with cotton ribbons,
8¼" × 13" × 1½" (21 × 33 × 3.8 cm)
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page 121
 Wonder Worlds (2012)
Tunnel book: cut and collaged
Japanese printed papers; accordions:
handmade linen/cotton paper;
3 3⁄8" × 3 3⁄8" × 9" (8.6 × 8.6 × 23 cm)
gallery
Photo: Barbara Mauriello
 Puzzle Blocks (2009)  Wild Cards (2007)

Blocks: Stencil-painted paper folded into 12 cubes which Stencil-painted cards, gouache on handmade paper, with
can be arranged and rearranged to form changing geometric embroidery and button embellishments; pages linked
landscapes; Box: 7 3⁄8" × 9½" × 2¾" (18.7 × 24.1 × 7 cm) together with accordion-pleated paper; Box: combination
of cloth and paper over boards; Book: 6½" × 5" × 53"
(16.5 × 12.7 × 134.6 cm) (open) in a folding box.
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}
page 122
giles miller: cardboard furniture

Giles Miller Studio creates a range of products and surface materials London Design Museum, and Bombay Sapphire, among others. Giles
from corrugated cardboard. It has been the studio’s mission to elevate Miller is happy to be able to show the true potential of this amazing
this amazing material with commissions from Stella McCartney, the eco-considerate material.
playing with paper
Photo: Luke Hayes Photo: Luke Hayes
 Brown Paper Bag, 2008  Stella McCartney Store, Paris, 2008

Cardboard, leather, 68½" × 531⁄3" × 66" Cardboard fluted wall covering, 192⁄3 sq yd (18 m 2)
(173 × 135.5 × 176.6 cm)
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page 123
 Pool Rocker Chair, 2006
Cardboard, 22" × 30¾" × 26 1⁄8"
(56 × 78 × 66.5 cm)
gallery
Photo: Luke Hayes
Photo: Luke Hayes Photo: Luke Hayes
 Wardrobe-C, 2008  Flute Lamp, 2006

Flat pack cardboard, 38 1⁄8" × 192⁄3" × 78" Cardboard, 8½" × 8½" × 15¾"
(97 × 50 × 198 cm) (21.5 × 21.5 × 40 cm)
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}
page 124
lisa nilsson: paper filigree

Lisa Nilsson has a BFA in Illustration from the Rhode Island shaping narrow strips of paper, called quilling or paper filigree. Quill-
School of Design and graduated from the medical assisting program ing was first practiced by Renaissance nuns and monks, who made
at McCann Technical School, where her lifelong aesthetic interest in artistic use of the gilded edges of worn-out bibles, and later by eigh-
anatomy and cool-looking medical things grew a bit more informed. teenth-century ladies, who made artistic use of lots of free time. Nilsson
Her pieces are made of Japanese mulberry paper and the gilded edges finds quilling exquisitely satisfying for rendering the densely squished
playing with paper
of old books. They are constructed by a technique of rolling and and lovely internal landscape of the human body in cross section.
Photo: John Polak
Photo: John Polak
 Sagittal Section: Head and Torso, 2010 (detail, right)

Mulberry paper, 9" × 13" × 1" (23 × 33 × 2.5 cm)
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page 125
 Abdomen, 2011
Mulberry paper, 15" × 12½" × 1½"
(38.1 × 31.8 × 3.8 cm)
gallery
Photo: John Polak
Photo: John Polak
Photo: John Polak
 Head 1, 2011 (detail, right)

Mulberry paper, 11½" × 14½" × 1½"
(29.2 × 36.8 × 3.8 cm)
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}
page 126
lâm quang and kestrel gates:

handmade paper lighting
Lâm Quang and Kestrel Gates are a husband and wife team who They consider how the light will affect the feeling and usage of a space,
work collaboratively from concept and design through the creation while drawing extensively on the wellspring of Asian aesthetics. They
of their paper light sculptures, continually inspiring one another into are deeply inspired by the natural world and natural life cycles—by the
playing with paper
further exploration. Beginning with natural raw materials, they employ qualities of new growth, silence, and fruition. With their lights, they
both traditional and self-taught techniques. The rhythm of papermak- hope to enhance these elements in other people’s lives. They are repre-
ing, wire bending, papering, painting, and waxing shapes their days sented by galleries along the West Coast and create custom lighting for
and weeks. For them, this work feels both functional and expressive. residential and commercial settings.
 Seaweed, 2009
Handmade paper, wire,
28" h × 20" w (71.1 × 50.8 cm)
Photo: Lâm Quang
 Gardenias, 2008
Installation in a residential setting,
30" h × 40" w (76.2 × 101.6 cm)
Photo: Leila Cheiko
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page 127
gallery
 Dragon Tree, 2009
24" h × 18" w (61 × 45.7 cm)
Photo: Kestrel Gates

 Pitcher Plant, 2010
18" h × 10" w (45.7 × 25.4 cm)
Photo: Leila Cheiko
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}
page 128
shawn sheehy: pop-ups

Shawn Sheehy makes pop-ups because he loves sculpture as much for creatures who are being squeezed out of their environments due to
as he loves books. He enjoys the puzzle of developing a form and then human activity. Pop-ups have appeal for all ages in all demographics
engineering its movement on the page. His favorite subjects are crea- and are therefore a powerful communication tool. Sheehy has produced
tures of the wild world, both because they are so satisfying when they a number of limited-edition artists’ books that are widely collected, and
work correctly and appear to be lifelike and because he is an advocate he has taught paper engineering all over the United States.
playing with paper
Photo: Julia Stotz

 Welcome to the NeighborWood: A Pop-Up Book
of Animal Architecture, bee spread, 2003
Handmade paper, letterpress printed, construction,
8½" h × 14" w × 8" d (21.6 × 35.6 × 20.3 cm) (open) Ph
ot
o:
Ju
lia
St
ot
z
 Holiday card, witch, 2010

Cardstock, 6¼" h × 9" w × 2" d (16 × 23 × 5 cm)
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page 129
gallery
Photo: Ricardo Martinez
 Beyond the 6th Extinction: A Fifth Millennium Bestiary,
Ph
turtle spread, 2007
oto
: Ju
Handmade paper, letterpress printed, construction,
lia
10" h × 14" w × 10" d (25.4 × 35.6 × 25.4 cm) (open)
Sto
tz
ot
o:
Ju
lia
St
ot
z
 North American wildflower series, columbine, 2011

Cardstock, letterpress printed, 6¼" h × 9" w × 2" d
(16 × 23 × 5 cm)
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}
page 130
matt shlian: paper sculpture

Matt Shlian is a designer, an artist, and a paper engineer. His work Michigan, and creates design and commission work for companies such
is rooted in print media, book arts, and commercial design, and he is as Apple and Procter & Gamble. When he went to visit his robotic
currently collaborating with scientists and researchers by using paper piece, Unlean Against Our Hearts, a few weeks after it was installed at
folding as a means to understand structures at a micro level. Shlian sees the C.S. Mott Children’s Hospital, he was thrilled to see nose prints
the researchers’ inquiry as a basis for artistic inspiration, and they see from kids who had smashed their faces up against the Plexiglas; he was
playing with paper
paper engineering as a metaphor for scientific principles. Shlian also delighted to realize that his work could momentarily ease the minds of
teaches at the University of Michigan, runs a studio in Ann Arbor, sick children.
Photo: Cullen Stephenson
Photo: Matthew Shlian
 Ara106, 2011  Stretch studies, 2011 (detail, right)

100# text-weight Fox River Coronado on 100# text-weight Fox River Coronado, size varies
100# cover-weight, Fox River Coronado,
34" × 44" × 1" (86.4 × 111.8 × 2.5 cm)
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Photo: Cullen Stephenson
page 131
 Unlean Against Our Hearts, 2011
Tyvek, size varies
gallery
 We Are Building This Ship as We Sail It, 2010

100# text-weight Fox River Coronado,
8" × 6" × 9" (20.3 × 15.2 × 23 cm)
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}
page 132
ingrid siliakus: paper architecture

Ingrid Siliakus’s architectural, figurative, and abstract paper archi- the way she constructs with paper. Her process can take months of
tecture is recognized internationally. This form of paper art, which precise drawing and calculations to develop, as she designs a piece, layer
involves the creation of a three-dimensional object from one sheet of by layer. Siliakus has exhibited at the Holland Paper Biennial, her work
paper by simply cutting and folding it, has its roots in Japan, where the has been featured in international magazines and exhibitions, and her
forms of kirigami and origamic architecture were developed. A resident three-dimensional skylines have been used as illustrations for promi-
playing with paper
of Amsterdam, Siliakus expresses her spatial thinking capabilities in nent advertising and real estate agencies.
 Reflejar, 2008
Fashion paper 82⁄3" × 6¼" × 6¼"
(22 × 16 × 16 cm)
Photo: the artist

 Innerrings, 2006
Created for the Museum Rijswijk
(The Netherlands) during the
Holland Paper Biennial, paper,
1113⁄16" × 1113⁄16" × 1113⁄16"
(30 × 30 × 30 cm)
Photo: the artist
Photo: the artist
 Cosmopolitan, 2011
A limited edition of five featuring
the skyline of New York, paper,
113⁄8" × 151⁄3" × 15 1⁄3" (29 × 39 × 39 cm)
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page 133
Photo: the artist
gallery
 Big City, 2011
Photo: the artist
The skyline of
Amsterdam, cardstock,
1113⁄16" × 13¾" × 13¾"
(30 × 35 × 35 cm)
 Cover of Wallpaper Magazine, 2009

Fabric paper, cut from a sheet of paper
measuring 16½" × 11½" (42 cm × 30 cm)
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}
page 134
helene tschacher: paper sculpture

Helene Tschacher is a paper and book artist who lives in Germany and manipulating books, catalogs, and other printed media, altering
and exhibits her work internationally. She recently served as president their original form as the printed words become illegible, the pages are
of the International Association of Hand Papermakers and Paper distorted, and the original stories no longer exist.
Artists (www.iapma.info). Her current work involves cutting, folding,
playing with paper
Photo: the artist
 H2O, 2008
Printed parchment paper,
39 3⁄8" × 39 3⁄8" × 3½" (100 × 100 × 9 cm)
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page 135
gallery
Photo: the artist
 To Stay in Touch, 2010
Installation in Wonju, Korea, of
cardboard squares covered with
book pages and Hanji paper,
72⁄3 yd × 3¼ yd × 21⁄8 yd (7 × 3 × 2 m)
Photo: the artist
 Dancing Book, 2011

Cut and glued book pages,
5½" up to 9¾' (14 cm up to 3 m)
depending on how displayed
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} templates
page 136
Enlarge these templates as indicated and photocopy them onto the paper recom-
mended for the particular project. Use templates at 100% unless otherwise noted.
playing with paper
Photocopy templates at 310%.
Kirigami mobile, page 34
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Castle, page 36
page 137
templates
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page 138
playing with paper
Piece of cake, page 40
096-144_28850.indd 138 8/27/12 9:59 AM 096-144_288

096-144_28850.indd 138 8/27/12 9:59 AM 096-144_288
1/4" (6 mm)
6"
(15 cm)
page 139
1 3/4" (4.5 cm)
6"
(15 cm)
3 1/4"
(8.2 cm)
templates
6"
(15 cm)
4 3/8"
(12 cm)
Piano Hinge alBum, page 42
6"
(15 cm)
5" (12.7 cm)

(Actual diagram is double the
59"
width shown on the left and is
(1.5 m) this shape.)
6"
(15 cm)
5" (12.7 cm)
6"
(15 cm)
15" final height 4 1/2 "

(11.4 cm)
*Note: This is half of the template.

Make two photocopies and tape
together at the midpoint. 6"
(15 cm)
31/2 "
(9 cm)
This diagram is shown

at 15% scale.
6"
Actual template shape (15 cm)
2 1/2 " (6.4 cm)
Midpoint 6"
(15 cm)
inflataBle Ball, page 55 enveloPe folding

Screen, page 46 1 5/8" (4 cm)
Photocopy template at 200%.
5"
(12.7 cm) Hot air Balloon, page 59
7/8" (2.2 cm)
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} resources
page 140
PaPer and art suPPliers sPeCialty PaPers booKs

The papers featured throughout the book can
playing with paper
be found at the following stores and suppliers. Cave Paper The Cardboard Book
Minneapolis, MN Narelle Yabuka
bomalley@cavepaper.com Gingko Press
Graphic Products Corporation
www.cavepaper.com
Carpentersville, IL
Handmade papers, workshops, and internships Cover to Cover
www.gpcpapers.com
Distributor of Black Ink and decorative papers Shereen LaPlantz
Kristoferson Studio Lark Books
Calgary, Canada
Hiromi Paper, Inc.
kristudio@shaw.ca Creating with Paper (1967)
Santa Monica, CA
www.kristoferson-studio.ca Pauline Johnson
http://store.hiromipaper.com
Custom order decorative papers, including University of Washington Press
Imported Japanese papers itajime and paste papers, workshops
Hollander’s Folding Techniques for Designers:

Steve Pittelkow From Sheet to Form
Ann Arbor, MI Saint Paul, MN Paul Jackson
www.hollanders.com paperandbooks@me.com Laurence King Publishing, Ltd.
Decorative papers, bookbinding supplies, Marbled papers, marbling tools and supplies,
and workshops Paul Jackson is the author of more
and classes than thirty paper books.
New York Central Art Supply
Get Writing! Creative Book-Making
New York, NY misCellaneous suPPliers Projects for Children (2008)
www.nycentralart.com Paul Johnson
Huge supply of decorative papers and Into the Wind A&C Black
art supplies Boulder, CO Paul Johnson is the author of
www.intothewind.com numerous books about bookmaking
Oblation Papers & Press Kite parts for teachers and children.
Portland, OR
www.oblationpapers.com Lamp Shop Non-Adhesive Binding: Books without
Custom handmade papers, decorative papers, Concord, NH Paste or Glue
fine stationery, and letterpress printing Keith A. Smith
www.lampshop.com
Glue applicators, metal rings, and lamp parts The Sigma Foundation
Wet Paint
Saint Paul, MN Origami Art: 15 Exquisite Folded Paper
Northwest Magnet
www.wetpaintart.com Designs from the Origamido Studio
Portland, OR
Decorative papers and art supplies Michael G. LaFosse and
www.northwestmagnet.com
Richard L. Alexander
Rare earth magnets
Tuttle Publishing
Nunn Design
Port Townsend, WA
www.nunndesign.com
Manufacturer of ring blanks
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page 141
Origami Tessellations: Awe-Inspiring The following books are out of The Moveable Book Society
Geometric Designs print but they are worth looking www.movablebooksociety.org
Eric Gjerde for through used book dealers. Membership organization for pop-up and
A K Peters/CRC Press moveable book enthusiasts.
Pop-Up Geometric Origami
Papercraft: Design and Art with Paper Masahiro Chatani and Origami USA
R. Klanten, S. Ehmann, and B. Meyer Keiko Nakazawa www.origamiusa.org
Die Gestalten Verlag Japan Publications (USA) National society dedicated to the art of
paper folding.
Paper Folding Templates for Print Design Paper Folding & Paper Sculpture
Trish Witkowski Kenneth Ody
HOW Books Emerson Books, Inc.
Paper Illuminated Pop-Up Origamic Architecture

Helen Hiebert Masahiro Chatani
Storey Publishing, LLC Ondorisha Publishers, Ltd.
Helen is also the author of
Papermaking with Garden Plants & Common
Weeds and The Papermaker’s Companion. organizations
Paper: Tear, Fold, Rip, Crease, Cut Drachen Foundation

Raven Smith www.drachen.org
Black Dog Publishing Everything you want to know about kites
Playing with Books Friends of Dard Hunter

Jason Thompson www.friendsofdardhunter.org
Quarry Books National organization dedicated to hand
papermaking, hosts annual conferences
The Pocket Paper Engineer, Volumes 1, 2 & 3
Carol Barton Hand Papermaking Magazine
Popular Kinetics Press www.handpapermaking.org
Semiannual journal in the field of hand
Unfolded: Paper in Design, Art, Architecture papermaking
and Industry
Petra Schmidt International Association of
Birkhäuser Architecture Hand Papermakers & Paper Artists
www.iapma.info
International membership organization
dedicated to paper art, hosts biannual
conferences
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} Artist Directory
page 142
Kell Black DJ Gramann II Chris K. Palmer

Clarksville, TN Minneapolis, MN Shadowfolds
playing with paper
blackk@apsu.edu dj@gramannstudios.com Berkeley, CA

www.gramannstudios.com chris@shadowfolds.com
Valérie Buess
www.shadowfolds.com
Marburg, Germany Paul Jackson
valerie.buess@gmx.de Herzliyya, Israel Lâm Quang and Kestrel Gates
www.valeriebuess.com origami@netvision.net.il HiiH Handmade Paper Lights
www.origami-artist.com Portland, OR
Bridget O'Malley of Cave Paper
light@hiihgallery.com
Minneapolis, MN Paul Johnson
www.hiihgallery.com
bomalley@cavepaper.com Manchester, England
www.cavepaper.com pauljohnson@bookart.co.uk Brian Queen
www.bookart.co.uk Calgary, Canada
Jocelyn Châteauvert
bqueen@shaw.ca
Charleston, SC Hedi Kyle
roselanestudios@hotmail.com Philadelphia, PA
Alyssa Salomon
hedikyle@comcast.net
Béatrice Coron Providence Forge, VA
New York, NY Michael G. LaFosse and sa lt work@gma i l.com
bc@beatricecoron.com Richard L. Alexander http://alyssasalomon.com
www.beatricecoron.com Origamido Studio
Shawn Sheehy
Haverhill, MA
Vincent Floderer Chicago, IL
info@origamido.com
Saint-Aulaire, France shawnsheehy@gmail.com
www.origamido.com
vincent.floderer@orange.fr www.shawnsheehy.com
www.le-crimp.org Roberta Lavadour
Matt Shlian
Pendleton, OR
Mike Friton Ann Arbor, MI
robertalavadour@gmail.com
Portland, OR matthewshlian@gmail.com
www.missioncreekpress.com
mikefriton@yahoo.com www.mattshlian.com
www.zoo-play.com Barbara Mauriello
Ingrid Siliakus
Hoboken, NJ
Peter Gentenaar Amsterdam, Netherlands
bmauriello@verizon.net
Rijswijk, Netherlands paperartnl@yahoo.com
www.barbaramauriello.com
gentor@hetnet.nl www.ingrid-siliakus.exto.org
www.gentenaar-torley.nl Giles Miller
Scott Skinner
London, England
Pat Gentenaar-Torley Monument, CO
studio@gilesmiller.com
Rijswijk, Netherlands www.scottrskinner.com
www.gilesmiller.com
gentor@hetnet.nl
Helene Tschacher
www.gentenaar-torley.nl Lisa Nilsson
Mainburg, Germany
North Adams, MA
Eric Gjerde helene@tschacher.de
lisa@remsbergphoto.com
Mutzig, France www.helene.tschacher.de
www.lisanilssonart.com
ericgjerde@mac.com
www.origamitessellations.com
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acknowledgments }
page 143
I
am grateful for the wonderful sense of sharing that exists within the
paper community: thanks to each and every artist who said “yes” when I asked
you to contribute images or projects for this book. Special thanks to my intern,
Leah Uvodich, for helping me in the production of this book. Thanks to Hook Pottery
Paper, Marjorie Tomchuk, Josephine Banens, Mary Leto, Patricia Cheyne, Sue Nuti,
and Rosemary Cohen for sending paper swatches, and to Graphic Products Corpora-
tion for sending me their swatch book featuring 800 papers. Thanks to Bill and Sue
Funk for the use of their home and property for some of the photography. And thanks
to Ted for believing in me; to Willam and Lucah for giving me the time to research
and write; and to my mom and dad for quietly nurturing my inquisitive mind.
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} About the Author
page 144
H
elen Hiebert runs a small papermaking studio where she creates
art, installations, and artists’ books; trains interns; and hosts workshops
playing with paper
and consultations. She is an adjunct faculty member at Oregon College

of Art and Craft and teaches and lectures internationally. She is the author of
Papermaking with Garden Plants & Common Weeds, The Papermaker’s Companion, and Paper
Illuminated and the producer of the film Water Paper Time. She lives in Portland,
Oregon, with her husband and their two children. To learn more about her work,
visit www.helenhiebertstudio.com.
The Hydrogen Bond installation
Mother Tree Project
Alpha, Beta, …
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096-144_C67929.indd 144 9/13/12 1:12 PM
© 2013 by Quarry Books
Text © 2013 Helen Hiebert
First published in the United States of America in 2013 by

Quarry Books, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.quarrybooks.com
Visit www.Craftside.Typepad.com for a behind-the-scenes peek at our crafty world!
All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book
have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by the producer, publisher,
or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that
credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing
information in a subsequent reprinting of the book.
10 9 8 7 6 5 4 3 2 1
ISBN: 978-1-59253-814-0
Digital edition published in 2012

eISBN: 978-1-61058-642-9
Library of Congress Cataloging-in-Publication Data

Hiebert, Helen, 1965-
Playing with paper : illuminating, engineering, and reimagining paper art / Helen Hiebert.
pages cm
1. Paper work. I. Title.
TT870.H5173 2013
745.54--dc23
2012019931
Design: Based on original design by Landers Miller Design

Page Layout: Laura H. Couallier, Laura Herrmann Design
Cover Images: Stephen Funk Photography, (bottom right): Leila Cheiko
Illustrations and Templates: Mattie Reposa
Printed in China
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templates .............................................. 136

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cut, score, fold, and weave

What Is PaPer? a BIt of hIstory

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Where to fInd PaPer

• At your fingertips. Wrapping paper,

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There are numerous types of paper

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require a craft knife (a). My favorite a

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Fasteners. Peek through your office

 Don’t forget the fabric store!

Think outside the box. I like to use

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Reverse the valley fold so that there

1 make the fIrst fold

3 reverse some folds tIPs

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how to set an eyelet

5 reverse folds aGaIn

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 Fold a square of paper in half on

 Accordion fold a square or rectan-

Artist Matt Shlian utilizes a similar technique to stretch paper in

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many parts of the world. Start with

Accordion fold a sheet of paper

into four panels (see instructions

 Fold a paper circle or square in

Fold a sheet of paper in half. Cut

Artist Béatrice Coron uses her craft knife like

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ture” and you will find instructions

forms. Once you’ve got that down,

Use these illustrations as a guide to

There are many variations and

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Use a compass to draw a series

 Score the curves as shown. Mani-

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in most cases it requires stitching or

corners with pleats, you’ll be a whiz

Fold an isosceles triangle in half

Artist Eric Gjerde pleats paper in complex

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This pleating is a bit trickier, until

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Chatani wrote a book called Pop-

illuminated, these structures create

 Follow the diagram to create a

Create a series of slits as indicated.

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Traditional origami designs