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Paste Paper Workshop

with Virginia Paul January 23, 1999.

Working with paste paper is quite delightful. It gives one a chance to "play" and create beautiful pieces which have endless uses for calligraphers. Besides being "worry and error free", the entire process is very simple and easy to learn. Surprisingly, the paste or methylcellulose, does not need cooking but simply mixing:

DIRECTIONS:

1. Mix 2 level tsp. powder with 8 oz. water, Stir until all powder is moistened. Some lumps will form.

2. Let mixture sit for 10 minutes and stir again. Paste should have thickened and lumps should have disappeared.

3. You will know the mixture is ready by its' clarity, thickness, and it is the consistency of corn syrup.

4. Adjust to desired consistency by either adding 1-2 tsp. water or 1/8 tsp. powder. Paste can be stored in large yogurt containers and covered to keep out dust. It will keep indefinitely so when the mood hits, you can do create!

ADDING PIGMENT:

It is preferrable to mix all pigments you will need before beginning.

1. Use 1/4 paste mixture added to 2 tbsp. of acrylic or other pigment. If using tube watercolour, or acrylic, mix small amounts at a time and mix thoroughly to avoid lumps. Varying the colour you use depends on what shade you prefer.

2. Then add interference, metallic or iridescent powders, if desired. APPLICATION: Using pre-mixed paste (Ross Paper Mache Art Paste), and a large sheet of Mayfair paper, we began by sponging the paste mixture on the entire page. Then with acrylic paints of any colour, we sponged colours over different areas of the page, spreading colour to the edges. With the sponge, we blended the colours until we were satisfied with how the page looked. We added texture with anything we could find: forks, spoons, reeds, wooden dowels, feathers, or found objects. Then the page was set in a place to dry.

VARIATIONS

This basic procedure could then be varied in several ways:

1. Before applying paste, the paper could be coloured with watercolour, thinned acrylics or pastels. After drying, the paste paper application process was applied and it allowed the underlying colour to show through.( he effect was marvellous especially when using black paper!)

2. For the adventurous, try paint spattering with various objects eg. toothbrush.

3.Another exciting option is layering colours by applying a colour, letting it dry and then applying another colour over top. Then, creating markings with the objects, allowed the first colour to show through.

4. Once a piece was created, one could create a print by laying a clean sheet over top, pressing it together and separating slowly.

MATERIALS:

Throughout the entire process Virginia, our enthusiastic instructor, encouraged and provided us with endless materials with which to experiment.

PIGMENTS:

Pigment possibilities included Liquid Acrylic, tempera, folk art paints, Rotring inks, Pearlescent Inks, and Shimmers, a metallic ink. For underlaying colour (as described in number one), one could use watercolour, gouache, pastels (oil or chalk) or pencil crayons.

PAPER:

Generally, the most suitable paper was that which could withstand dampening and would not shred:

a) Cartridge paper

b) Canson papers

c) Indian River watercolour paper

d) Arches textwove

Other options suggested by Jean Formo:

a) Two-ply smooth finish drawing Bristol or heavyweight offset paper for books or boxes.

b) Textweight papers (Ingres textweight, Arches textwove) or mediumweight drawing papers for endpapers or paste paper to be folded to bookboard.

c) Any paper above could be used for calligraphic pieces.

d) Alternatives: Diploma parchment, Mohawk superfine Textweight. Pastel Papers.

PASTE:

Ross Paper Mache Art Paste is available through Paper and Ink Books in USA. Another option is methylcellulose where you find paper marbelling or bookbinding supplies.

RESULTS:

So after creating these masterpieces, what did we do with them? Our instructor saved the best for last--a reverse pleat accordion book which we made from one of our paste papers. Decorated with gold or silver ribbon, the paste paper looked completely different when it was made into an object. Each one was unique.

After the workshop, what did we do with the paste papers? I created a unique, one-of-a-kind wedding gift by making a book with a matching box both from the same paste paper and then I decorated a plain gift bag to match. The book, hand lettered with similar colours, contained some thoughts on marriage and the box was tied with a string of pearls. The gift bag also decorated with pearls, had a special gold tag for the bride and groom.

Special thanks to our fine instructor, Virginia Paul, who provided us with a marvellous day to "create" and "play". Her motto, "experiment!" was taken seriously by all!

Thanks also to the Hamilton Calligraphy Guild for their fine hospitality.

by Helen Small, Niagara Calligraphy Guild

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