Sculpted Paper I - Crafting a Basic Paper Sculpture Relief | Denise Ortakales | Skillshare

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Sculpted Paper I - Crafting a Basic Paper Sculpture Relief

teacher avatar Denise Ortakales, Illustrator, Surface Designer, Hand Letterer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (53m)
    • 1. Introduction

    • 2. Supplies & Tools

    • 3. Sketch & Palette

    • 4. Background

    • 5. Transferring

    • 6. Cutting

    • 7. Shaping & Forming

    • 8. Gluing

    • 9. Assembly

    • 10. Finis

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About This Class


Paper sculpture can be used in illustration, framed as fine art, or a fun craft to teach children. Students will be introduced to the basic techniques for working three-dimensionally with paper, learn how to utilize their sketches, and transfer and cut various shapes from colored paper. We’ll also explore methods for forming, shaping, lifting, arranging and gluing the shapes into a strong composition.

Our project for this class will be to create a relief of a simple flower. Together we’ll go through the process using your own sketch or the one provided. No drawing experience is required. This class is open to all skill levels. Join class today and let’s get our fingers sticky!




PACIFIC SUN by Nicolai Heidlas Music Commons — Attribution 3.0 Unported— CC BY 3.0 provided by Audio Library 

Meet Your Teacher

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Denise Ortakales

Illustrator, Surface Designer, Hand Letterer


I'm an illustrator living in the beautiful Lakes Region of New Hampshire. I've worked in children's books, editorial, advertising and enjoy surface pattern design and hand lettering. 

My medium of choice for 20 years has been sculpted paper - a three-dimensional cut paper technique (traditional, not digital) however lately I've been playing with a variety of two-dimensional techniques - mostly gouache, watercolor and digital.

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Follow me on Instagram @deniseortakales.

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1. Introduction: Hi, everyone. My name is Denise or to Kellison Omine, illustrated from New England. My medium of choice is paper sculpture for sculpted paper. Sculpted paper is a three dimensional relief made from shapes of multiple layers of paper lifted from the surface in order to give the appearance of something that is fully three dimensional. I've used this technique for 20 years now in Children's books, magazine covers, advertising pieces, Children's magazines, even window displays and a billboard. But sculpted paper also makes great framed art for your walls or fun craft to do with Children. In this class, you'll learn the different types of papers that you can use in order to be successful and what tools you need most of what you probably have around the house already. I'll show you different techniques for forming and shaping your paper, how to lift it off the page and make it come to life. For this class, you project will be to do a simple flower, feel free to use my sketch that I've included in the class, or come up with your own, either from photo reference or out of your mate imagination. That would actually be really awesome, but you don't need to know how to draw to do this. Certainly feel free to use my sketch. That's what it's there for. Hope to see you in front. 2. Supplies & Tools: Hi, everyone. Welcome to sculpted paper one. Creating a basic paper sculpture relief. I'm glad you decided to join us in this class. We're going to talk about supplies and tools that you need the three most important supplies. You'll need our paper, obviously. Ah, backing board something that supports your sculpture and glue. But first, let me talk about the quality of your supplies. You can go out and spend hundreds of dollars on paper or pull stuff from your recycle bin. It really doesn't matter. What matters is your intended purpose for the final product. If you're just trying to keep a child busy for the day and want a fun craft to do, go ahead. Use things from your recycle bid or kids construction paper or corrugated cardboard. But know that those items aren't going to last a lifetime. If you want something that will last a lifetime and beyond, then you need to use archival or acid free materials. It might take a little bit to find those things, and you have to do a little research, but in the long run, it would be worth it. What I suggest for your first project, just use whatever you have on hand just to see if you like the process. And then if you dio go ahead and go wild in the store, break the bank. Have fun. So let's talk about paper. The type of paper that I like to use the best is an artist grade charcoal or pastel type paper, a little thicker than child's construction paper. Can Zahn can furred strapped Lorne Fabbiano or all good brands, and I believe Dick Blick online carry cells. However, they come in very large sheets 20 by 25 which is way too big for the project we're working on. What I suggest instead is you go to your favorite craft Storm Michaels Hobby Lobby, a Seymour Ben Franklin. Whatever you have near you and look through their scrapbooking selection of papers. They come in a much smaller size, 12 by 12 rate in half by 11 which is much more manageable to work with, and they come in a larger variety of colors that are color coordinated toe look nice together. Generally, what I look for is a paper that is that died, and what I mean by that is they put the coloring into the pulp while it's being made. So when you cut through the paper, the color goes all the way through versus a printed paper, which is just printed on the surface. And when you cut through that paper, you see a white edge, which can be distracting. A show fire way of telling whether the papers printed or not is to turn the paper over. If it has a white back or even a different colored back than the front, it's probably a printed paper that doesn't mean you can't use it. Sometimes I find the color that I just have to have that I can't find in a VAT died paper. So I make it work. But I just want you to be aware of that white edge. Now you might find that you like the white edge, and it might be a stylistic choice that you choose to use, and that's fine. But I just want you to be aware of it. P and tone and color raid papers are good examples of a printed paper popular for years, with graphic designers there now difficult to find. They come in such wonderful colors and are hard to resist I have a whole drawer full. You also might wanna wait until you view the next lesson where we talk about the sketch and choosing a color palette before you go out and buy your papers. What do you use for backing board is really important because it's what supports the rest of your sculpture. I like to use foam core, which is a piece of Styrofoam sandwiched between two sheets of paper. It's fairly sturdy, but yet very lightweight, and it can also come in fun colors like this one, which I like to use. If I'm doing a landscape, this makes a great sky. The other thing you can use is Matt Board, which framers use a lot. It's it's a lot thinner, but it's it's still starting enough for a small project. Um, you're also going to need some scraps of Matt board in foam core, just small scraps like this to use as your lifters in behind your shapes of paper. And what I do for that is, um, I go visit my local framer. He's a good friend of mine, and I asked him for his scraps, and that's what he gives me. That's what this is, and if it happens to have writing on the back, it doesn't matter because none of this is going to show the other thing you can use if you , especially if you're working with Children, are Styrofoam meat trays. I just make sure I washed them very well and they work fine. What's nice about these for kids is that you can cut them with scissors and you don't need to use the night. It's much easier to cut than the matte board. It might take a little bit longer to glue because it doesn't have that paper surfaced. But, um, it's, I think it would still be easier to use with kids now, less important supply is glue. My very favorite glue to use is a leans tacky glue in the gold bottle. Um, any white glue would do, but I prefer a leans because there seems to be less water in it, less moisture, and it dries faster. I am fairly certain that most white glues are acid free, so you're probably all set on that account. But make sure you get the gold bottle. The other type of glue that I use a lot is zig memory system to Wake Lou, which is acid free. The example on the left has a large chisel tip applicator, the one on the right, a smaller chisel tip and at the top, my favorite. The ballpoint tip. This glue comes up blue and dries clear. It's called two way, because it can be both permanent and temporary. If you apply two pieces of paper together while the glue was wet, it creates a permanent bond when dry. If you apply the glue to one piece of paper and let it dry, then attach it toe another piece of paper. It works much like a post it note in is removable. This comes in handy when creating patterns from your sketch and transferring them to paper . There are ways around this if you can't find this glue anywhere. A similar glue is made by Tom Bow, their mono multi liquid glue. It works the same but is a little thicker. And robbery two sided tape is always a handy thing to have for times when gluing isn't ideal. The last item you'll find is in the scrapbooking aisle. It's a handy little roller that dispenses a thin line of two sided tape. Also in the scrapbooking I on while you're there, Um, look for full size sheets of two sided adhesive that might come in 8.5 by 11 sheets where both sides of sticky, and that's really good for laying down a background. So now we're gonna talk about the tools that you need this a number of them. But don't be scared. The most important thing you will need is an Exacto knife. It does not have to be this brand, but you should get one with a very pointy tip. This is called a number 11 blade. I find that you need to keep two knives on my desk. The shop one for cutting paper in a dollar, one for cutting phone four in matte board. I hate to tell you, but you will also need extra blades because you most certainly will break. The few shown here is a package of five, but the little box contains 100 blades. That's how wide by them, because I break so many. Lastly, it's you need to put a pencil grip on your knives. If you happen to have any around the house, it makes cutting that much more pleasant to go with you. Night. You need a self healing cutting that if you're a pollster, scrap Booker. You may already have one. It will protect your cutting surface and keep your ninth sharper. I like the translucent one because sometimes I used it on my leg table. But any other color will work just as well for cutting a metal edge ruler is also a necessity for cutting straight edges. Don't use a plastic ruler because any slight wobble with knife will slice off part of it. Pair of paper scissors will round out your cutting utensils. Please don't use good fabric shears on paper. You will need something to sketch in or on. A sketchbook is good, but printer paper is Justus Good. Keep in mind that you may want to scan in your sketches, though it's not a necessity. Obviously, you'll need something to draw with like a pencil and then eraser. A few colored pencils and a fine tip marker will be useful for tracing your sketch later. Speaking of tracing, you'll need several sheets of tracing paper in 8.5 by 11 inch pad is large enough or you can buy it in a role like I do and rip off however much you need. And lastly, I like to use a plastic lid to hold the blob of glue. While I work, you get extra points for finding a break colored one like mine. It makes it that much easier to find on your desk. Toothpicks of the flat variety are handy for applying glue, but also make great support behind the thin piece of paper that you want to lift off the pain you might not have thes last few tools lying around the house. The 1st 2 are wooden sculpture tools with a variety of curved in sharp edges. They come in handy for molding and shaping your paper. Look for similar shape guidance around the house like a ballpoint pen with the in cartridge of move for something bullet shape. The next tool is an old school burnish er from the days when graphic diners used press tight the flat and is used for burnishing and the ball tipped is used for embossing. The bone folder is also used for burnishing and for scoring. You can probably find something else around your home that will serve the same purpose. So I just went over all the supplies and tools that you're going to need. So you should be all set meeting in the next class where we'll talk about your sketch and choosing the color palette. Even if you're going to use my sketch, don't skip the next didn't see you there. 3. Sketch & Palette: Welcome back in this lesson. I'm going to show you my process for sketching in how I prepare my sketch to do sculpted paper. We'll also talk about color palette and doing some color studies. If you're doing your own sketch, you may want to start with photo reference Here. You can see the reference I used in how they look in my sketchbook. I tend to draw my elements separately by hand than scan and arranged them in photo shop. Please know that I am not a photo shop expert. There may be quicker and easier ways to do this, but this method works for me. I'll give you a brief overview of my process. I start by creating a new document the size of my finished piece in this case, eight by eight inches. Then I zoom in on the element I want to copy using the lasso tool, I trace around it and copy it using control. See, on my PC, I moved to my other document and paste it Control V. Next, I use the magic wand tool to delete the white area outside my flower. I repeat this process until all of my elements are transferred to the new document, rotating in placing them where I generally want them. Sometimes when I use the magic wand tool, parts of the inner sketch will be selected that I don't want erased. In this case, I switched to the eraser tool in just a race outside the black lines. Sometimes I make a copy of an element and flip or stretch or shrink it for a variety. When I've rotated emplaced all my elements to my satisfaction, I moved the flower layer to the top. Here's my final sketch. I hit control A or select all on the menu to select the entire image. Then I go to edit stroke in the dialog box. I enter three pixels for the with. Make sure my colors black and that the location is set to inside Click OK, you can't see it here. But that added an outline to my sketch. You can, of course, draw out. You sketch completely by hand. What we're looking for in the end is a clear line drawing with no shading. Ah usually print out my sketch at my working size, which in this case is eight by eight inches. I like to refine it further by placing another sheet over it on my light table in tracing just the outlines. This is another step that can be done on the computer, but it's not something that I've competent at yet. I'm going to show you know how to prepare your sketch to cut out your pattern pieces, get grabby colored pencils. I'm going to start drawing through some of these shapes, finishing them off and showing the part that gets tucked underneath. You can call. Told these if you'd like green, that shows up, so I'll start with the leads. They don't have to be perfect or look even like what they're supposed to. Just so you have a solid shape and just drive right through. Whatever else is there doesn't here, since we get green here. Gonna connect all of these, so makes it easier when it's time to place them. Then all three. You're in the perfect spot. If you if they're all one piece, have a pink this'll pedal hole could be a more rounded that would price goes on top. So there, that one's on top. OK, some butts air, obviously a little obvious to be within that green spot. Okay? No, I sort of have a map. I also like to number my map. For instance, I numbered the pedals one through five and the leaves one through four. Once they're caught out, all those leaves begin to look the same. When I go to assemble it, though, I'll know exactly with that. Number one leaf has to go next will make a clean trace of our sketch. This will be important as a placement guide when we assemble our paper sculptures. Now, the sketch I made was eight by eight inches, but I've drawn a nine by nine inch square box on my tracing paper. I'm only doing this because I found a nine by nine inch frame that I'd like to put it in. You can make yours whatever size you'd like. The sketch doesn't have to be super detailed Onley Tracy elements that are important for placement. For instance, I don't really need to trace every notch in every leaf. Just the general leaf shape set this tracing aside for now. We'll use it later in assembling. Deciding on a color palette is a bit like the old question. What came first? The chicken or the egg. Do you decide on colors first and then go shopping for paper, or do you go shopping first To make a decisions based on what you find creating the color study before you go shopping can help you make those decisions. So here's our final sketch. I shrunk it down to fit four on a page. I included this file in the project area printed out and do some experimenting with markers , colored pencils or whatever you have on hand. Or you can import the file into photo shop, and I'll show you one way that I do color studies. Ultimately, you'll want to choose between 4 to 8 colors with a good combination of lights, darks and neutrals. Think about what you want to be the focal point of your image. That should be your greatest area of contrast or pop of color. You want one color for your background. 123 for your flowers. 123 for your leaves and however many you'd like for the center here. I've scanned in a few paper scraps from my vast collection of papers, but you can just as easily use colors from the swatch palette thes air. Some choices I'm thinking about. Let me start by saying I'm not a photo shop expert. So if anyone wants to add notes to the video that will help by the students, feel free to do so. I start by choosing the eyedropper tool in clicking on my background color. Then I choose the fill bucket and click on my background. This works well because I have all my black lines attached and no place for the color to go where it doesn't belong. This is important. If you're doing your own sketch, then I repeat the same process with the other colors until I'm happy with the outcome on this one. I went to the bother of coloring in the statements, but it's not really necessary. You really just want to see if your colors are going to work well together. And if there's enough contrast in the values, here are a few more studies that I did that are completely different from the first. You can do four completely different studies or try variations of the first taken. The time to do this before you finalize your paper. Choice is really important. Do take your color study to the store with you to help you decide what papers will look and work the best. If you created your own sketch and or cover studies, please upload them to your project so everyone can see. Join me in the next lesson where we'll get started on our background. 4. Background: Hi again. We're gonna get started on our background. Generally speaking, I like to start back to front and not do anything down that way. I'm able to change my mind right up until the end. Since we have a nice new blade, let's begin by cutting out are backing paper and remember toe work on yourself. Healing cutting map. It's also handy to use a T square if you have one. If not definitely take advantage of the markings on your cutting mat to keep things square . If your background paper or you're backing board are not square, take the time now to trim them Until they are. I start by marking out the size of my background paper. For me, that is nine inches by nine inches. Yours may be different. I usually just make tick marks with my knife like this, but for you today I will use a marker so you can see it better. Once you have everything marked out, line a straight edge up to you tick marks and run the knife along the edge. I'm going to try and cut off this line so I don't see it accidentally. It should go through in one pass, right, And then you go. You follow the same process for cutting your backing board. Except maybe you will have to make an extra pass or two with the knife. If you also purchase sheets of two sided adhesive, Now is the time to cut those. There are many ways to attach a background paper to your backing board. I'm going to show you a couple. The easiest way is to use two sided adhesive sheet cut to size. You can find these in the scrapbooking aisle. Now my two side that did he say, If she is so old, it comes in a role that I bought 20 years ago. I can't even tell you the brand or where I bought it from. It doesn't even have a backing sheet. You was should have a vacuum. She. So the first thing you're going to dio is to remove your backing sheets and apply it to the back side of your paper. Now, if it's not exact, that's okay. Thing is smooth that I will smooth out any air bubbles and you want to press pretty firmly to make sure the adhesive attach is and doesn't come off with the final backing sheet. So go ahead and give some good pressure. You did everything right. We should be able to peel off this final sheet. Yeah. Okay, well, that's not beautiful. Hopefully, years looks better than that. Then you flip it over and line it up with you backing board and want to do the same. Make sure you can clean. Of course, before you do this and then boom, you're done. How easy was that? The next method is with two sided tape. It's pretty much the same idea. Except instead of a full sheet, you're just going to use a two sided tape around the unjust. Then you put a big X in the middle and then fill in some of the empty spaces. Okay, so you can create whatever pattern you'd like on your think it doesn't really matter. Then you're going to do the same thing, is going to flip it over and apply it to your backing board and then press down. So there's that This last methods a little messier, but not undoable. Make sure to have a wet paper travel for your clean your fingers off and dry. Tavel also to wipe the hands on, and I'm going to use my lid to put some glue on, and I'm gonna have some little pieces of cardboard to use A squeegees. Gonna start by laying out a bunch of glue. Not too much. The idea is to get enough glue so it stays wet for a few minutes, but not so much that it soaks through the paper. I want just enough. In other words, the Goldie locks. Just start spreading it around nice and evenly a little. If you see any big globs, make sure you spread those out. They even put my paper on quickly because it's starting to drive again. Just smooth it on. And there you have the final method. The last method that I used when I have a large project is I bring it to my framer and have him dry. Mount the paper to the backing board. It costs me about $5 for a full size sheet, and it takes him about a day to do it. Here's a couple don't don't use rubber cement, it's too acidic, and one turn your project brown in a year or two. I also don't recommend adhesive sprays. Unless you working outside, they're messy. And I would be very leery about breathing that stuff in. Okay, You should have a background already to go. Now. In the next lesson will discuss transferring your shapes to paper, which is something you can do. What? Waiting for your background to drop. See you there. 5. Transferring: flow again. In this lesson, I'm going to show you a few different methods for transferring your sketch in your shapes to the paper. You can draw freehand directly on the back side of your paper for things not requiring precision. This could be a quick and effective method. For instance, I often uses for grassy shapes. Just remember, whatever you draw will come out reversed. I usually use pencil, but I'll use marker here so you can see it better. Using the light table. You can trace your design onto the back of your paper if your papers thin enough for the light to show through. But it also has to be lightened color as well. This method doesn't work off. My preferred method is to trace the shapes onto tracing paper, adhere that to the front of my good paper and use that as my cutting pattern. This is the best method when precision is a necessity. I also like that I can see through the tracing paper and can avoid bat spots on the paper underneath. If a area was numbered on the sketch, I also numbered on the pattern. I try to keep shapes that will ultimately be cut from the same paper together on the tracing paper, sometimes for tiny, hard to trace pieces. I will print out more sketches as needed and use the same method as a tracing paper. By putting the zig glue on the back here, I put it out three copies of my sketch, reducing each one by 20%. This gave me three different sizes of statements without having to do while that tracing on the backside of the pattern, I trace around the outside of my shapes with the zig pen and let that dry when the glue has dried. The last thing I do is apply my patterns to the paper in preparation for our next lesson. Now that you have, all your shapes transferred will go on to the next lesson, which is cutting 6. Cutting: Welcome back. We're ready to cut out our shapes. If you're working with Children, you'll want to use scissors for this step. It's just safer. But if that I encourage you to try the Exacto knife with the self healing cutting that start by cutting out all your shapes from your chosen papers. If the pattern piece was numbered, make sure to transfer that number to the back of the paper. Kowtow. I like storing all of my pieces in a Styrofoam meat tray to keep them separate from my scraps. Sometimes it's hard to tell the difference. Care should be taken with your knife as the tip breaks easily. If you find that your tip has broken off into your cutting mat, take the time to find it and remove it. Otherwise, you're doomed to cut over it at a later date, thereby ruining yet another blade. As I mentioned, I keep two knives on my desk, rotating them as soon as one dulls that way. I always have a sharp knife for paper. I don't cut out very tiny pieces until I'm ready to glue them in place so I don't lose them . The rule of thumb is If you need to. Y balls cut out at least three. It's also okay to use any paper punches you may own. Certainly, various size small circles come in handy for eyes or buttons when working with shape. That has other details that need to be added later. It's a good idea to keep the pattern piece with the shape, like with these leaves. I'll be working on the veins later as you cut, a lip will form along the edge of the paper, which doesn't look pretty in a paper sculpture. Once all your major shapes or cut, flip them right side up and smooth the edge with the burnish er or bone folder in a pinch, you could use a spoon. Now that we have our shapes all cut, I'll meet you in the next class, where I'll show you different techniques for forming and shaping our paper. 7. Shaping & Forming: Okay, This is it. This is the fun part. I'm about to show you some techniques that will really make your paper pop. Consider it the secret sauce. There are different methods for shaping and forming your paper. I'll call the 1st 1 score unfold. Scoring is when you lightly run the knife along your paper in a line that you would like folded. You don't want to cut all the way through. Onley break the surface. You're fold should always be away from the score, So if you want a mountain fold, you will score on the front side of your paper. If you want a valley fold, you will score on the back side of your paper. Here's a challenge for you. See if you can create a three dimensional star shape using the scold in four Method and posted to your project page the next method I'll call Cut in pop. Let's say you're making a tree rather than cutting every leaf out separately. Cut one large shape next. Partially cut out a few scattered leaf shapes to give the suggestion of many leaves. Lift the cut leaves up or down to give them some dimension. If you like to, so you'll easily understand dart and glue. With this method, you make a slit in the paper, overlap the ends and glue. This is good for making a cone from a circle or a box from a square. The final depth depends on the length of the cut or amount of overlap. - Curling is exactly what it sounds like. You can curl a strip of paper by twisting it around a diable or knitting needle. Tape the end so it will stay put and let it sit for a while before we're moving. If you really want to set that curl, give it a little steam from a steam iron or boiling water. Let it cool completely before removing. Theme. Bossing method is my favorite and works great for giving a flat piece. The appearance of roundness it works on the same principle is when you write on a note pad and see the impression of what you wrote on the page Beneath, place your shape with the right side down onto something soft, like foam core or craft foam. Then you run around a tool around the edge, pressing down slightly. The tool you use will determine the look of the embossing. A smooth, rounded wooden sculpture tool is what I use most of the time. It gives a wide, smooth curl. If I'm working on a small piece, I'll use the ball. End of a burnishing tools. A dry ballpoint pen will give you a sharp edged thin line, which is nice for creating an all over pattern. But be careful because too much pressure will cause the paper to rip. That was fun, right? Make sure to post your experiments on your project page for everyone to see. Join me in the next class. We'll show you how to get even more dimensions and layers in your project. We're going to start gluing together some of our smaller components. 8. Gluing: I hope you had fun experimenting with all the techniques I showed you. Now comes my favorite part. This is where I start to get little butterflies of excitement in my tummy, the good kind, and I'm talking about starting to assemble the components. When you're gluing, always make sure you have a wet paper towel or cloth for keeping your fingers glue free. If you get any glue when you work, don't fret. Gently wipe it with a clean and wet paper towel without ruffling up the surface too much. If disaster should strike and you think you've made a mess of it or you discover a big blob after it's dried, think of something you could glue over it like a B or a butterfly. After the prep work is done for my project, I start to glue the smaller components together, using my numbered sketch to help me with placement. I start by assembling all the pieces for one component and lay them on the sketch so I know exactly where they need to go. Then they flip each one over and glue a spacer to the back. If appropriate, not everything will need a spacer. Some things like stripes on a shirt, for instance, you might not want to have depth. Generally speaking, I used matte board as a spacer between layers of a component and foam core when I glue everything to the background and show depth between components. But this is not a hard and fast rule on Lee, a general guideline. As you can see, I've cut small squares, matte board to place behind the buds for narrow things like the bud leaves and stems. I find flat toothpicks make good support. They don't add a lot of depth, but they usually add enough. When something is curved, I gently crack the toothpick into shape and glue it down. Lastly, I glue the leaves and stems to the buds to finish off that component. You may notice that I ignored that little leaf on the middle stem. I didn't feel it was necessary. Next, I add spaces to my pedals. When it's time to glue them together, I've laid down a central piece to glue them to. I know this piece won't show it all, but will make the entire flower structure sturdier. Here. I noticed that there were a little too flat so I added a foam core spacer at the outer tip of each league. I also wanted to give some pedals more depth so some would look like they were in back of others. I used to different techniques for each settle leaves. For one set, I burnished the vein lines from the back side. Then I gave one a mountain fold and the other a valley full. Thea other set of leaves was trickier. I scored the centerline, unfolded it both ways. You'll see that this line will ultimately get folded in different directions. Then I scored sets of vein lines as either mountain or valley folds, alternating between the two. Then comes the hard part, trying to tease it into shape. But as you fold the vein lines into mountains or valleys, the central line will eventually get the idea and fallen to place. For my center, I saved cutting the tiny heads until last. By cutting strips into smaller pieces, I glued these individually onto each statement, then assembled the three pieces together with the largest on the bottom in the smallest on top. Lastly, I add the center after, given the glue a minute to dry I glue the center to the flower, I place all onto my sketch and see that I want more depth behind my rose buds and leaves, so I add foam core spaces to them, too. Lastly, I checked that I'm happy with the placement of everything. - Was that fun watching your pieces come to life? Come back and watch the next lesson. After you finish assembling all of your components, then we'll put the finishing touches and grew everything down. 9. Assembly: can you believe it were almost done. I start assembling my piece by placing that clean tracing we did earlier over my background , I put glue on the flower in hovering over the tracing paper. When I feel I have it in place, I slip out the tracing paper and lay down the flower. I check its placement by laying the tracing over it and adjusting as necessary. Next, I add the rose buds, checking their placement with the tracing paper. It's not uncommon to have to trim away some spacers in order to get everything to fit properly. You may also find that you need to add more spaces at some places to support something better. I continue on with the leaves, always checking and rechecking. They're placement for something like this. Their exact placement may not matter. I mean, flowers grow in nature and no two are exactly the same. But sometimes you do need things to be perfectly placed, and this is the best method I've found to ensure that I give the final piece one last check with the tracing paper. Just to be sure, I also keep an eye on everything for a few minutes while the glue sets up just to be sure nothing droops. And voila! You've created your first sculpted paper masterpiece. Congratulations. If you made it this far, you probably have something very similar to this or maybe something completely different. And that's okay, too. Whatever you have, please post it to your project page for everyone to see. Because isn't that what makes taking a class like this so much fun? Everybody has given the same instructions, maybe even used the same sketch, and yet they all come out so unique you won't be able to scan this, so you'll have to take a photograph. Just make sure you're lighting, comes in at an angle or from the side in order to show off the shadows in the depth to its best advantage. If you post your piece on instagram, make sure to tag me at sculpted paper. Also used the hashtags sculpted paper and paper sculpture so other paper artists around the Internet can admire your work as well. Meet me in the last class where we'll talk about what to do with these paper sculptures now that they're done 10. Finis: Okay, so now let you finish your paper sculpture. What are you going to do with it? For starters, if you just want to store, find a nice, sturdy box. It needs to be studies, and so if you put something on top of it, it doesn't get squished down and crush your paper sculpture. Some good boxes might be a pizza box asl long as it's clean. If you need to ask your favorite pizza parlor for an empty box, they'd probably give you one. But keep your eye out for the boxes around the house, like perhaps a large box of chocolates there. Sometimes reams of paper will come in a nice, big, sturdy box. I just happened to buy from Amazon a box of sheep protectors that just happens to be perfect size for my paper sculpture or nearly perfect, anyway. And that will hold that and keep that nicely protected if you recall. Earlier in the class, I said I had done the sketch at eight by eight, but I was making mine nine by nine because I had a frame for Well, here it is all framed up. This is a frame that I got it. Michaels. I happen to know that they carry a very nice collection of shadow box frames that come in different colors, different sizes, different depths. I'm sure many of the other craft stores do as well, so check around or check online to, but it really makes a nice gift. It was very easy. I just popped it in and even has a hanger on the back. Makes a great gift or looks nice on your own walls. If you made it this far, give yourself a pat on the back. I hope you enjoyed the process and the final project. If so, please consider. Leave it in a review and recommending my class toe like minded friends. I've already begun work on my second class sculpted paper to in which I discuss advanced techniques for sculpted paper. If you follow me on skill share, you may even get a notification about it. Feel free to leave any questions you have or suggestions for future classes on the class forum. It's been a pleasure teaching you this skill, and I hope to see you in the future