The art of 3D decoupage
Paper Tole is known by many names - 3D Tole, decoupage and shaping to name but a few. All refer to the same basic craft, which has become increasingly popular over the years.
Paper Tole involves cutting out sections of multiple copies of the same picture - silicon glue is then used to separate the pieces from one another, as they are seamlessly built into a 3D representation of the original print.
The individual pieces can be shaped and curled to give the picture a more realistic 3D effect, while some artists have been known to add in entirely new pieces to really spice it up (e.g. adding real fern leaves to a print of a tropical forest)
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The History of Paper Tole
The word "Tole" is thought to have come from the French word describing the craft of beating metal-ware into a raised shape to give it pattern. Paper tole is thought to be an extension of decoupage and probably appeared in Europe after decoupage became popular in the eighteenth century.
Decoupage thrived throughout the Victorian era, but during this time it was more a form of collage than decoupage. The designs were busy, pretty and feminine, with overlapping images that covered the entire surface of the object.
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The Three Levels of Paper Tole
- LEVEL ONE - Basic Techniques
At this basic level, it is expected that the finished work is done well. The picture must look coordinated i.e. stems should not be higher than leaves, feet should not be in midair, and all elements must be in perspective in relation to each other. The shaping must be realistic without cracked edges. Colored edges should not show bleed marks. Only paper parts must be used in the picture i.e. no plastic stamen, dried flowers etc. You may use a combination of prints for your project. Each part of the picture must be separated from every other part. You may use treasure cote to enhance parts of the picture such as water, eyes, and dewdrops on flowers. You may keep or cut away the background. If you are using a layering technique, layers must be fitted exactly in place with no shifting taking place. If the work is lifted high away from the background, block or paint out the image on the background. It is not necessary to block if the picture is kept close to the background or if the background image is not easily noticeable. Some double images are allowed so long as they don't detract from the overall effect. - LEVEL TWO - Feathering and Furring
This level concentrates mainly on feathering and furring but standards for level one must be observed as well. At this level the work must be flawless. Feathering should be fine and relatively even. If the picture of a bird is very smooth, do not feather the whole bird, as this will tend to make the bird look choppy. Underlying layers must be feathered around the edges. Double or triple beaks are not allowed. Use blocking or painting to minimize double images. Bodies of both birds and animals must be rounded without gaps or space between layers.
Animals can be made using the furring or scratching techniques. For example, use the furring technique on a longhaired wolf, and use the scratching technique on a horse or cow. No double images or gaps between layers allowed. Use blocking or painting to eliminate double images. - LEVEL THREE - Vue d'optique
At this expert level, the work must be outstanding. This level concentrates on scenes in depth featuring landscapes, seascapes, buildings or people. Anton Pieck or Kim Jacobs prints are ideal for this level. Double images or gaps are not allowed. If the background is very faint, it is not necessary to work it. You may combine parts of other prints to help hide gaps, or to enhance the picture. You may use a transparent material to put behind windows to simulate glass panes. Make sure that windowpanes on the background are covered or painted out. Any props may be used for achieving desired height, but they must not be visible from the sides.
