I’m always looking for new ways to finish my origami. Lately I’ve been playing around with some solvent-based paints which I’ve used to create effects that make the paper look more like glazed ceramic.
I’ve never worked with these type of enamel paints before and I’ve gone through a lot of trial and error (mostly error) to figure out how I can use them to their best effect. I’ve had at least three that I think worked pretty well, and they are available for sale on my Etsy site
They’re variations on some previous designs but what makes them each unique is the quality of the surface, which is unlike anything I’ve done before. The translucent enamels give them a depth which I find really appealing.
The Origami House is a new museum of origami in the works in historic Colonia del Sacramento in southern Uruguay, just across the mouth of the Rio de la Plata from Buenos Aires. Maybe not the first place you’d think of when you think of origami, but a more beautiful site you would be hard pressed to find. And besides, Japan already has an origami museum; Spain has the EMOZ , Escuela Museo Origami Zaragoza – but this may be the first museum in the Americas dedicated solely to paperfolding.
The fledgling endeavor has an Indiegogo account set up to accept donations to help it get off the ground. Money will go towards pedestals, displays, etc. as well as the modifications necessary to make the existing structure appropriately climate-controlled for the display of origami. Many of the participants of the recent Folding Paper travelling exhibition (myself included) have donated their pieces from the show to reside in the new museum. Some of the money donated will go toward shipping costs to get these artworks to the new site.
Not just a gallery, the Origami House will be a genuine museum with collections of books, artifacts and documents related to the history of origami in addition to displaying examples of paper-folding from around the world.
I’ve got some new masks available for sale in my Etsy shop. There are three that have just returned from the Masqalors show in Quebec (those would be the aforementioned “not so new masks” although they are only a little more worldly for their recent trip across the border). You may also find three new variations that I’ve been working in the last month or two. The new masks feature techniques of “origami corrugation” to create interesting decorative patterns.
I’ve used a band of corrugation as a decorative motif across the top of this mask as well as the Charlemagne mask above.
This is something new to me but a technique that has been well employed by other folders like Ray Schamp and Andrea Russo and many others. I’ve only incorporated small areas of corrugation as flourishes, but found the approach both rewarding and surprisingly tricky. Ben Parker has had more practice combining corrugation and traditional tessellation than I, and he makes it look easy.
If you happen to be around Saint-Camille, Quebec, next week drop by the biennial Masq’alors! festival. It’s a festival of masks going on from May 28 through June 7.
Traditional masks, exotic masks,
fantastical masks, theatrical masks and even a few origami masks.
If you have an opportunity, don’t miss it!
The festival is an event started by the Productions des paysages éclatés, a group of creative people dedicated to promoting and celebrating artistic expression and culture in everyday life through events like Masq’alors! (the exclamation point is mandatory) as well as workshops for all ages.
I’ve been working on something new lately. These are small origami tessellations, 10-12 cm. wide, folded from hexagons of simple bond-weight colored paper. The difference is in the finishing. After they’re folded, I saturate the paper with a one to one mix of melted beeswax and damar resin. This is a traditional basis for encaustic painting, but without pigments it makes the the paper translucent. The mix also makes the origami rigid and durable. The beeswax keeps the object from becoming too brittle and the damar resin raises the melting point of the wax so the suncatcher doesn’t go soft in the sun. I’ve created a new section in my Etsy shop, as well as an album in my Flickr photostream where you can see many more designs.
I’ve spent most of the last month working out the kinks in a particular new mask design. Once I get an idea in my head I tend go over it again and again until I’m either satisfied I’ve found the best solution or I’ve at least exhausted all the possibilities I can think of. That usually means a slew of masks representing variations on the same theme, so that I can see which ideas work and which do not.
The latest idea has been rather fruitful, and so far I’ve made three variations that I think came out pretty well:
They are all based on the same design, the most obvious difference is that Neptune and Triton have beards and Constantine does not. I wanted to design a mask that could go either way, so to speak. The eyes and nose of all three are essentially the same and the headdresses have only minor differences.
I’ve still got some more ideas to work out with this design you may see more in this line soon.
The fourth mask is a bit of a break:
This is a design from last year that I wished to develop a little further, and something with a slightly more pleasant expression. Those other three seem a bit cranky for some reason. I don’t know why so many of my masks come out like that, it’s not like I’m trying to make them all look angry.
A tessellation is a pattern of repeating geometric forms that can interlock to fill a space infinitely. In origami tessellation, a discrete unit of folded shapes that can be repeated to make a tessellation is sometimes called a “molecule”.
This molecule is an example of a style of tessellations I started folding almost a decade ago that I took to calling “flagstones”. Combining shapes like rhombus twists and open backed hex twists on the front with triangle and closed hex twists in the back allows the shapes in front to sit right next to each other with only a sort of “grout line” separating them. It reminds me of tiles or paving stones, hence the name.
I’ve made a video of folding a star and hex molecule, consisting of a cluster of rhombus twists in a star formation surrounded by hexagonal twists. This unit can be reiterated to fill as much space as the piece of paper will allow.
By the end of last post, the mask looked like this:
Shiny bronze. I could have stopped here and called it good, but I really wanted a nice, crunchy verdigris patina on this thing to give it some character. I have a technique I’ve been experimenting with to create an effect of age, oxidation, rust or corrosion.
I apply a layer of crackling (or “craquelure” if you want to sound fancy) with a mix of pigments and Kroma Crackle as a medium. I first found out about Kroma Crackle from Joseph Wu’s use of it on his own origami, as you can see here. When I saw what he was doing, I had to try it for myself. There are a lot of crackling glazes out there, but they are usually glossy and work best on hard non-porous surfaces. Kroma Crackle has more of a matte finish and is flexible, not brittle, when it dries.
To prepare my verdigris I will assemble my materials.
Most of the pigment will be in powder form. In the jar is powdered glauconite, a mineral traditionally used to create blue-green paints. I happened to have some around from years ago when I used to play at making my own paints (but that’s another story). If you’re interested in such things, you can find Rublev natural pigments and other traditional artists’ supplies at NaturalPigments.com.
I also have Micaceous Iron Oxide again, some Phthalo Green and Manganese Blue, and of course the tube of Kroma Crackle.
Then mix in the glauconite to make a thick mud. Add a little water if necessary, but I only want enough liquid to disperse the particles of glauconite so that it will mix with the Kroma Crackle more easily and without clumps.
When the pigments are thoroughly incorporated in the crackle medium, I use a broad brush to slather the mixture onto the mask.I want to make sure to get it into all the crevices. After I’ve coated the whole surface evenly I can continue to go over the surface to brush some of the glaze away from the high points so that the bronze underpainting will show through.
The crackle glaze takes a long time to dry, but I can accelerate it a bit with a hot air gun. Getting the drying started will at least keep the goo from dripping of the mask before it is dry.
When it dries, it will lighten in color and become opaque. Added a final coat of shellac will make the crackle somewhat more transparent where it is thinnest, so the bronze can come through more. But I have to wait until the crackle is absolutely, completely dry, through and through before I can apply the shellac. That will take no less than 24 hours. Usually it is best to wait a couple of days at least.
When it is dry, I get out the clear shellac, thinned at with at least 50% alcohol. The crackle glaze drinks up the shellac so I make it very thin and apply it generously. The crackle becomes very transparent when it first absorbs the shellac, but it will become more opaque as it dries.
All told, it took about a week to complete this piece but a lot of time is spent waiting for something or another to dry before going to the next step. Usually I have more than one project going on so I always have something to work on.