I kept going after my helpers left and continued to speed maché* another session today. Layer 1: DONE; several more to go. Good thing I ADORE doing papier maché. Love it love it.
These pictures from last Sunday give me a lot of joy. I think it's because these sweet girls, my new intern Sophie (in the foreground), and her sister Tash, are pitching in and getting the papier maché stage finally underway. All the fast flying hands working on the project make me giddy with delight.
I didn't/couldn't plan this but I've had an olive tree on my desk for a few years that surprised me this year by blooming with tiny white flowers and then... tiny olives! I've harvested them while they are still small for 1/2. scale and am curing them as one really would so they'll last on the set as olives for Rana.
*My favorite Maché method for large structures: I use several types of papers, switching them up between each layer. I like thin painter's masking paper for fidelity to shapes; thick red resin paper for dense areas that need super strength; newspaper for a good free source for a lot of it; and torn up brown grocery bags.
The medium I prefer is undiluted liquid starch straight from the jug. I quickly tear the papers into piles of types in lengths and pieces first to keep things rolling fast. I wear dishwashing gloves with long cuffs as it speeds the process up. I pour the starch into shallow trays and use my gloved hand as an applicator of it to the sheet of paper, swoosh, swoosh, slap, press, again. These papers stay strong when whetted and so I can load them up and press the wet sheets onto the set shapes and smooth them down firmly with my hands, sculpting the paper onto the set. Let dry throughly between layers to ensure an iron clad firmness. A layer on this entire set can be covered in a day's session in this way.