Ultimate Paper Mache

Animal Sculptures and Advanced Paper Mache Projects.

Archive for December, 2008

My Paper Mache Calf Experiment

December 24th, 2008

Paper Mache Holstein Calf Sculpture

This week I hurried to finish this little Holstein calf, sleeping on a base that represents the hills and coastal mountains of Oregon. The calf itself was first built with newsprint and masking tape. To see how this is done, visit the paper mache dragon post.

I experimented a little with this sculpture. I wanted the finished piece to have more weight than paper mache alone would give it – for some reason I decided that a sculpture weighing only a few ounces couldn’t be considered a “serious” sculpture. To get the extra weight I made the base out of plasterboard – the stuff that covers almost all the walls in our houses.

I got the weight I wanted, but encountered an unexpected problem – the finish coats, (see the baby whale tutorial for details) crackled, but only on the base. This probably happened because plaster draws water, and probably made the finish coats dry unevenly from the inside out. Since nothing I did stopped this from happening, I decided to consider it a happy accident and accented the crackles with an antiquing glaze.

Crackles in Decorative Coat

The problem with this solution is that the crackled finish is held together with the final protective coat of Verathane. I hope it holds together, but there is no guarantee. If you have a suggestion for how to add some weight to a paper mache sculpture that works a little better, please let us know in the comments below.

One of the best parts of sculpting with paper mache is the opportunity to try something new – but one has to expect the unexpected when experimenting with techniques and materials that haven’t been used before. I find that not only acceptable but truly exciting – and I also believe that the best learning experiences come from our mistakes.

The calf itself also offered plenty of learning opportunities. Frankly, a standing calf would have been easier to sculpt, because of those long, bony legs folded up under the calf. Straight legs would have been easier.

Calf, sleeping

To get the proportions as close to ‘right’ as possible, I searched the web for photos of young calves taken from as many angles as possible. Even with all those photos to look at, it took three tries with the crumpled paper and masking tape to come up with the calf I eventually covered with paper strips and flour paste.

(Note – if you need to remove a head or cut a paper mache sculpture in half to make adjustments, a bread knife works quite well if you’re still in the masking tape stage, or if only one or two layers of paper mache have been added. If more layers than that are already on your sculpture, you may need a saw.)

Although it can’t be seen in the photo, I also experimented with adding rub-on metallic color, which I purchased last year from Georgies in Portland. This was the first opportunity I’ve had to use them. I used the Golden White metallic color over the light wash of color on the mountains, and on the calf. I am quite pleased with the result.

I don’t yet know what my next project will be, but I think it’s going to be quite a bit bigger than anything I’ve done before. I’m toying with the idea of an almost life-sized baby giraffe, or perhaps a Galapagos turtle. (But if I keep playing around with paper mache, I may soon need a bigger house!)

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Paper Mache Pitfalls and Rewards

December 23rd, 2008

I don’t have time to create a tutorial this week – I’m rushing to complete a paper mache sculpture for an Art About Agriculture contest sponsored by OSU. This will be the first art contest I’ve ever entered (I made my living as an artist many years ago, but no contests…) I’m making a sleeping Holstein calf on a base that represents the pasture and hills around the Tillamook valley – where they make that great ice cream and cheese. Wish me luck!

While I’m waiting for my sculpture to dry I thought I’d jot down a few comments about paper mache as an art form. Everyone experiences this material in grade school or kindergarten, but few people use it as a “serious” art form. I think there are good reasons for that.

First, paper mache, the laminated type made from torn paper and paste, cannot be sculpted by itself. It can only create a “skin” around something that has already been sculpted using another medium, or around form that is found around the house like a bowl or a balloon.

And for this reason, I think that paper mache doesn’t feel like a “natural” art medium. Give a child a sheet of paper and she will look around for a crayon to draw with. Give a child a lump of clay and he immediately begins to form it into a cat or face or train. Often the only thing people remember about their early paper mache projects is the mess.

To make it feel more natural, many people make a pulp out of wet paper and an adhesive, so the material can be used a bit like clay. This pulp can be formed (with wire or other armature inside), and some artists have created beautiful sculptures with this material. Beginners tend to find paper mache pulp frustrating as a sculptural medium because it dries so slowly – and the slow drying process can lead to the formation of mold if steps are not taken to prevent it. It is also difficult to create fine details because the paper has a fairly rough and bumpy texture. You can use this texture to add interest to your sculpture, but it can be frustrating, too. I must admit that I don’t have the patience for paper mache pulp.

To make a smoother, more finely-detailed sculpture, I find it easier to use laminated paper stripsand paste over a form. The resulting layers of paper are very strong – even a few layers will be hard enough to sand or drill, so they dry reasonably fast. But what should one use as the basic form?

If you’re just starting out with this medium, I recommend that you use something solid for your form, even if you want your finished piece to be hollow, like a pinata or piggy bank. Once several layers of paper and paste have dried you can easily saw it in two, remove the interior form, and then put it back together with more paper strips.

Why use a solid form instead of the more popular balloons? Because something solid is so much easier to hold onto.

As you can see from most of the tutorials on this site, I prefer to do my sculpting with crumpled newsprint and masking tape. I make ears with thin cardboard, and the piggy bank’s interior is made from an old salt container, but I use crumpled paper and masking tape whenever I can.

There are three benefits of using paper and masking tape for the form:

You can create any shape you want, so your final piece will be a true expression of your own creativity – you aren’t limited by the shape of a balloon or bowl.
Your sculpted crumpled paper will be solid and easy to hold while you add your paper strips.
The crumpled paper will add considerable strength to your final sculpture, so only a few layers of paper and paste are needed unless the inner form will eventually be removed.

One problem with crumpled paper as an armature is that you will have lots of bumps and edges that you didn’t really want, unless you use lots of tape. I use tons of tape, so my crumpled paper sculpture is as close as possible to the shape I want my finished project.

Another problem is that it takes a long time before you can see how your finished sculpture will really look. There is always a point in every project when I despair that this thing can never turn out right. (And sometimes that turns out to be true – my first effort at a sculpture for that art contest ended up in the trash).

Then, usually after the second layer of paper has been added, the sculpture seems to come to life. I use brown Kraft paper for my second layer so that there will be no distracting print, and I can really see the shape and form of the sculpture for the first time.

Then, of course, comes the worry that the paint or final finish won’t turn out the way you want, but that’s a problem for another post. For now, I need to get back to my Holstein calf for that contest. I’ll put up a photo of it when it’s done.

If you have any ideas about paper mache as an art form, or if you have a favorite item that you like to use for the inner form, please let us know in the comments below.

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Posted in Cheap Art

Tags: armature masking tape paper mache paper pulp sculpture

How to Make a Paper Mache Bunny Sculpture

December 17th, 2008

Project Difficulty Level: Intermediate.

Make this Lop-Eared Bunny Sculpture

This little paper mache lop-eared rabbit was a lot of fun to make, and only cost a few pennies in materials.

I found some wonderful models for my bunny out at MyBunnyBlog.com, and if you happen to live in England you could actually adopt one of the beautiful rabbits they show on their site. For now, I’ll just make do with this little bunny sculpture. If you’d like to make one like it, you can follow the photos below.

Step 1:

As with most of the paper mache projects on this site, the bunny starts out with a wad of newspaper that is made into a ball by taping it tightly with masking tape. The first ball will be the bunny’s body.

Paper Mache Lop-Eared Rabbit, Step 2

Step 2:

Next, I added smaller scrunches of paper for the four legs and the tail.

Paper Mache Lop-Eared Rabbit, Step 3

Step 3:

Now the head is added, and I cut two ears out of the cardboard from a cereal box. I cut tabs at the top of the ears so I can bend them over and use them to tape the ears to the head.

Paper Mache Bunny, Step 3

Step 4:

The ears are taped to the bunny’s head, and a small bump of paper is added at the top to give the ears a realistic curve. I will leave the details, like eyes, nose and toes, until after the first layer of newsprint and paste has dried.

Paper Mache Lop-Eared Rabbit, Step 5

Step 5:

Now the paper and masking tape are completely covered with strips of newsprint and a paste made from flour and water. I had to do this in two stages, first the bottom and then the top, so I’d always have a dry side to lay him on. The bunny was dried in an oven set at 200 F. (Never put paper mache projects in an oven that is hotter than that, because the heat will distort the shape. And never put them near a fire or electric heater, unless you want to burn down your house).

Paper Mache Bunny, Step 6

Step 6:

As soon as the first layer is completely dry, I use some joint compound to round out the bunny’s body.

Many people like to leave the ridges and bumps that are created when you crumple paper – it gives the final project an unmistakable “paper mache” look. However, I like to smooth my sculptures out, and during my baby whale wall sculpture project I discovered that joint compound is perfect for this purpose. You can buy this product at the hardware store.

As soon as the joint compound is dry, you can easily sand it as smooth as you like. (This is a technique that I have never seen anyone else use, so you can say your heard it first from me!)

Paper Mache Bunny, Step 7

Step 7:

As soon as the joint compound is dry and sanded I start making the details with paper towels that have been dipped in the flour and water paste. Bunnies don’t have too many details, because they’re covered with fur. However, I wanted to have some nice toes, and I built her nose and mouth from pieces of paper towel. I also made her “eyebrows”, and added a bump that some bunnies have on the top of their head.

Paper Mache Lop-Eared Rabbit, Step 7

Step 8:

After the paper toweling is dry, I use some more joint compound to round out the cheeks and forehead, as you can see in the photo below. Then I add the second layer of paper and paste. The second layer is made of brown Kraft paper, like the kind paper bags are made from. I used very small strips around the nose and toes, and used one of my Loew Cornell Clay Tools to push the paper into the creases. You could also use a knife or toothpick for this purpose.

Paper Mache Lop-Eared Rabbit, Step 8

Step 9:

When the second layer of paper is completely dry, I sand it smooth. Then I make up a special “skin coat” of white flour, water and carpenter’s glue. Elmer’s glue would also work. The glue keeps the paste from cracking as it dries. To this mixture I add some white craft glue. To completely cover the rabbit, I use three coats.

Paper Mache Lop-Eared Rabbit, Step 9

Step 10:

The third coat of “skin” paste is brushed on in small sections. Then, before the paste dries I use the little brush that came with my set of Loew Cornell Clay Tools to put “fur” on the rabbit. The fur is dragged into the paste in teh natural direction that fur grows in. I don’t texture the ears or nose, since these are velvety smooth on a rabbit.

I’ve also sketched in the places where the rabbit’s coat will be colored, like a calico cat.

Paper Mache Lop-Eared Rabbit, Step 10

Step 11:

The colored spots are now painted in with craft paint diluted with water. I used a light grey and two colors of brown to duplicate the rabbit’s calico coloring. The ears and cheeks are dark brown. In the second photo below you can see that I’m trying to copy the colors of a real rabbit.

Left-Side

Face

Painting over the fur texture with thinned craft paint creates a nice illusion of real hair, without having to paint in little hairs with a tiny brush. The grooves are filled with paint, while the ridges between each “hair” is just a little bit lighter. I was very pleased with the effect.

The bunny was then finished with a coat of water-based verathane, which you can find at a hardware store.

Completed Paper Mache Bunny

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Tags: Add new tag bunny lop-eared rabbit paper mache sculpture

Paper Mache Bluebirds – A 7-Hour Gift Project

December 11th, 2008

Project Difficulty Level: Fairly Easy (and fast!).

Paper Mache Bluebirds

Today’s paper mache project, these two little bluebirds, started out as a challenge to myself. I wanted to find out if it was possible to create a paper mache gift in just one day. I managed it in seven hours, with plenty of time while the birds were drying to eat lunch, work on a video for this site (coming soon…) and throw a ball for my dog.

My inspiration for these two little figurines were a pair of doves I gave to my mother when I was a child, (about 50 years ago), and a tiny soapstone quail my daughter gave me when she was in grade school. Since both of these gifts have stayed around all these years, I decided that a pair of birds (if they turned out nice) could be a perfect gift for someone who appreciates hand-crafted art.

To challenge myself and to make this project more fun, I pretended that the gift needed to be wrapped and presented tomorrow. I started at 10 am and took the final photo, shown above, at 5:15 pm. And I think they’re adorable.

[Note (added 5/28/09): This project works for other kinds of birds, too, so pick the colors of your own favorite backyard friends. See a paper mache junco (a type of sparrow) here.]

Step One:

The first thing I needed to do was choose a species of bird. I chose the Colorado bluebird because they have a simple shape and just two colors (plus the black for the beak and eyes, of course). If the shape was simplified considerably they would still be recognized as bluebirds. I did an image search on Google to find examples to use as models for my project.

I didn’t want to be drawn into putting too much detail on the birds – I wanted them to be as simple as possible. To keep from being sidetracked by too much detail I made two very simple sketches to work from, and didn’t look at the photos again until it came time to choose a color for the birds.

Paper Mache Bluebirds, Step 1 & 2

Step 2:

The next step was to make two bodies of newsprint. I used one page of a tabloid-sized newspaper for each ball and taped them tightly with masking tape. The two balls are the size and shape of a small chicken egg.

Paper Mache Bluebirds, Step 3

Step 3:

Now I needed some heads. I first cut out two beak shapes from cardboard, and then used 1/4 sheet of tabloid-sized newsprint for each head.

Paper Mache Bluebirds, Step 4

Step 4:

I taped the head balles tightly with masking tape, and included a beak in each one. Then the heads were flattened slightly (so their shape from the side is an oval), and taped them to the birds. One bird’s head is in an upright position, as shown above, and one bird’s head was attached so that it appears to be looking at the ground. Take a look at the large photo at the top of this post to see what I mean.

Paper Mache Bluebirds, Step 5

Step 5:

Now the birds need a flat bottom so they’ll sit nicely on a shelf. I cut two small ovals from heavy cardboard and taped one to the bottom of each bird.

Paper Mache Bluebirds, Step 6

Step 6:

Now we need some bluebird tails. Colorado bluebirds do have fairly short tails, according to the photos I found, but I made my tails even shorter. This helps to simplify the shape. I cut two tails from cardboard. They are sort of “W” shaped, with a crescent shape cut out at the top to help them fit next to the bird’s rear-end. The tails were taped securely to each bird.

Paper Mache Bluebirds, Step 7

Step 7:

Now I wanted wing tips, which will cross slightly over the tail. I cut out the wing tips and taped them to the birds.

Paper Mache Bluebirds, Step 8

Step 8:

The wing tips have now been taped on, just above the tail. The very ends of the wings cross each other. Once the paper mache has been added, the edges will be much smoother.

Paper Mache Bluebirds, Step 9

Step 9:

I now add two layers of newsprint and paper mache paste, made from flour and water. Each layer needs to be done in two steps – first, do one side, then the other, so you always have a dry side to rest the bird on. To speed up the drying, I put the birds on a cookie sheet in my oven, set to 225 F. Each layer takes at least 30 minutes to dry.

The difficult parts are around the tail, where I used one of my Loew Cornell Clay Tools to push the wet paper down between the wings and tail (a toothpick or small knife would probably work as well); and getting the paper strips to lie flat against the curve at the top of the heads. I used very thin strips in these areas, and smoothed down each piece of paper as much as possible before putting them aside to dry.

In the photo above, you can see the birds with both coats of paper mache applied and dry. The birds are lightly sanded to get rid of any high spots and they’re now ready for a “skin coat.”

Paper Mache Bluebirds, Step 9

Step 9:

The skin coat is used to smooth the sculptures and to add color. The first two or three layers are made from the flour and water paste that is left over from the paper layers, with a bit of carpenter’s glue and a small amount of white paint added. Regular Elmer’s glue would probably work, too. The glue’s purpose is to prevent the layer of paste from cracking when it dries on the outside of the figurines. I didn’t measure anything, but I started out with about 1/4 cup of regular paste and added about a tablespoon of glue.

The white paint helps the paste to be more opaque. I put on two layers of white paste.

Paper Mache Bluebirds, Step 10

Step 10:

Use a broad brush to add the skin coat in thin layers to each bird. The birds are too difficult to handle if you put the paste on the entire bird at one time, so I had to do one side first, then put the bird back in the oven at 225 F to dry. While the first bird dried I put the skin coat on half of the second bird. The birds dried in about 20 minutes each time.

I then sanded the birds again, to make them as smooth as possible before adding the blue paste.

Paper Mache Bluebirds, Step 11

Step 11:

Now we’re ready to add the color. The birds could simply be painted, but I decided to use another layer of skin coat for the color. I used the paste left over from the last step, which has some white in it already, and added a touch of phthalocyanine blue acrylic paint. (I set aside just a bit of white paste for the bird’s “bloomers.”)

Two layers of this blue paste was added to the birds, leaving a patch white below their tails.

Paper Mache Bluebirds, Step 12

When the blue paste was dry the birds were very lightly sanded one last time, and I then turned them upside down and put one last coat of white paste to the area under the tail and to the bottom of the figurines. Then I used a wet finger to blend the white paint into the blue so there isn’t a stark line dividing the colors.

I used black acrylic craft paint for the beaks. I don’t have a brush small enough for the tiny black eyes, so I made a “brush” from a match – the kind you get in restaurants. I used just a corner of the torn end of the match dipped in black paint for each eye. When the black was dry I found a needle in my junk drawer and dipped it in white paint. I touched this tiny amount of white paint to each eye for a reflection – the eyes won’t look “alive” without this.

When all the color was dry I added a coat of water-based verathane. And the result:

Completed Paper Mache Bluebirds

Finished Paper Mache Bluebirds:

Done, even with all that drying time, in seven hours. You can see from the photo that I sanded one of the birds just a touch too much, and the white shows through the blue on it’s side. If I hadn’t been in such a hurry (just to see if it could be done…) I would have repaired it with more blue paste. Since I was in a hurry, I’m going to pretend I did it on purpose.

If I needed more presents, (and if I had nothing else to do), I could have made several more pairs of bluebirds in the same amount of time – using the downtime while the layers of paste dried in the oven. In fact, with just 14 more days ’till Christmas, I might make a few more of these little gems for the people on my list who appreciate hand-crafted gifts.

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Posted in Cheap Art

Tags: bluebirds Christmas gifts fast project paper mache

How to Make Paper Mache Ornaments – Lots of them!

December 3rd, 2008

Make these paper mache christmas ornaments.

Project Difficulty Level: Challenging

Making one paper mache Christmas tree ornament is fairly easy – you simply use the techniques shown for other projects on this site. Each ornament you make with torn paper and paste will be a true original, and your family will treasure it for years.

However, sometimes you need a lot of ornaments, and making them one at a time would take too long. In this post I’ll show you how to set up a small ‘production line’ and create multiple versions of the same design. You can use this technique to make as many ornaments as you need – to fill a whole tree, to give away as gifts, or even to sell at a craft fair.

All the other projects on this site can be made using items you probably already have on hand. Very few additional materials need to be purchased to make ordinary paper mache sculptures. However, the ornaments shown here are made using products that you can find only in an art store. They are not terribly expensive, but there is a small investment in supplies for these ornaments.

I believe the casting product we’ll be using for our paper mache ornaments was originally developed for doll-makers. The things you’ll need are:

Super Sculpey clay, to make the original designs.
Plaster of Paris, for the molds.
Activa Li-Qua-Ché Pourable Papier Maché, a pourable paper mache casting compound.

I purchased my Sculpey and Li-Qua-Che for this project through Blick Art Materials, the online discount art store. You can buy Plaster of Paris at your local hardware store.

Paper Mache Christmas Ornaments, In Process

Step 1:

To begin your project, you’ll need a small box to hold your plaster mold, and a board to hold your Sculpey models. Cut or find two boards or pieces of cardboard that are the same size. They need to be at least 1 inch wider than your biggest finished ornament.

The first board will be the bottom of your box. Cut long strips of cardboard at least 4″ wide and long enough to go around the outside of your board. Use masking tape to attach the strips to your board, creating sides. Use extra masking tape to cover any cracks or seams so the plaster can’t leak out.

Paper Mache Ornaments, Step 1

Step 2:

Cover your second board with a piece of plastic. I used a piece of plastic cut from a tall kitchen bag. You need the plastic to be large enough so it will extend out at least 4″ beyond the edges of the board. Tuck the extra edges of the plastic under your board (you can use a piece of tape to keep it from slipping around), and then use your Super Sculpey to create you models on the plastic-covered board.

Paper Mache Ornaments, Step 2

When I make small items like this, I use my Loew Cornell Clay Tools, but you can also use common items like knives and toothpicks to work your clay. When your models are cast, the mold will capture every fine detail that you put into your model.

You can copy favorite ornaments or toys, get inspiration from antique ornaments online, or just get creative. You could even use Christmas cookie cutters to create simple shapes. Just be sure that the clay is pressed firmly on to the plastic around the edges, so the models won’t ‘float’ when plaster is poured over them.

The only rule is that there must be no undercuts. Look at your model carefully to make sure there are no undercuts, especially around the edges where the clay meets the board. Undercuts make it difficult to remove the cast paper mache.

Step 3:

Once you are happy with your Sculpey ornaments, carefully pick up the board and place it in the box you created, draping the extra plastic over the sides. Use a few pieces of masking tape to keep the plastic from slipping down into the box. Make sure each ornament model in the box is centered, and not touching the sides of the box.

Paper Mache Ornaments, Step 3

Step 4:

Now mix up some Plaster of Paris, using the instructions on the container. (If you’ve never mixed plaster before, you can use the instructions shown on this site. Pour your dry plaster into the water, allowing it to soak for a few seconds before stirring. Mix completely so there are no lumps, and make enough so the clay models will be covered by at least one inch. Slowly pour the plaster over your models. Then tap the box gently on the table to dislodge any small bubbles that may form. (If you do end up with bubbles, don’t worry – they will show up as little bumps on your cast ornament and can be easily sanded off).

Paper Mache Ornaments, Step 4

Step 5:

Now you wait until your plaster is set. It will firm up, and then begin to get hot. After it cools down again, it should be strong enough to remove you clay models. Tip the plaster out of the box and pull the clay out of the plaster. You may need to use a tool to carefully lift up the clay from the middle of the model – you will lose your original model, but an exact duplicate can now be created with the pourable casting compound, using the mold you’ve just created. Carefully inspect your mold to make sure you didn’t miss any undercuts that would make it difficult to pull the finished ornaments out of the mold. If you find any undercuts, carefully remove them with a knife.

Paper Mache Ornaments, Step 5

Step 6:

Allow your new plaster mold to cure overnight before using. In the meantime, you can create another batch of Sculpey models, using the board and box you used before, and make another mold.

Now mix some water and Activa Li-Qua-Ché Pourable Papier Maché, according to the instructions on the container. The casting compound should be about the same consistency as cream. Carefully pour it into your mold, filling each one completely. In the photo below I am pouring Li-Qua-Che into one mold, and another mold has been filled.

Paper Mache Ornaments, Step 6

Step 7:

You will now wait for about 15 to 30 minutes while the water from the casting compound is sucked into the plaster mold, creating a ’skin’ around the edges. You want this skin to be from 1/16th to 1/8 inch thick.

Paper Mache Ornaments, Step 7

Step 8:

Now turn the mold upside down and drain the liquid compound into the original container. If it would be easier, you can drain the compound onto a baking sheet, and then pour it into the original container. This is a little messy. Use your fingers to push all the extra compound that collects on the top of the mold back into the container – you can see in the photo below that it will collect on the mold during the pouring process, but it can be easily pushed off into the container or baking sheet.

Paper Mache Ornaments, Step 8

Step 9:

Once the extra compound has been drained from the mold, turn the mold upside down and allow it to dry for at least 30 minutes. The amount of time it takes will depend on how dry your mold was when you started and the temperature of your room. When the compound is ready to be removed from the mold, it will shrink away from the sides of the mold, and will be firm, but still fragile. You can now pull the ornaments out of the mold and allow them to dry completely. As soon as the first batch of ornaments has been removed from the mold you can begin again.

Paper Mache Ornaments, Step 9

Step 10:

This next step may not be needed. When the Li-Qua-Che is completely dry it is remarkably sturdy, but I still reinforce the area where I’ll be drilling a small hole for the hanger. I do this with very small bits of brown Kraft paper stuck to the back of the ornament with carpenter’s glue. You should do some experimenting on your own to see if this step is actuall needed.

Paper Mache Ornaments, Step 10

Step 11:

You can now drill a small hole for a hanger. I used one of my Loew Cornell Clay Tools for this step, but I think a very small drill bit and a power drill would also work – or you could use an ice pick.

Paper Mache Ornaments, Step 11

Step 12:

I painted the back of all my ornaments black, so you can’t see them when the ornaments turn around backwards on the tree. Dark green might have been better. This is entirely up to you.

Paper Mache Ornaments, Step 12

Step 13:

And now we’re ready for the fun part! You can paint your ornaments with acrylic craft paints. Let the paint dry completely. I like to add a protective finish coat of water-based verathane.

Paper Mache Ornaments, Step 13

The Completed Paper Mache Ornaments: