Thursday, February 28, 2013

"If Pets, Why Not Useful Ones?"


By Percy Shaw.

I wonder how 'twould be if cows
And hens and ducks were household pets,
And banished far were growls and meows,
As witness in these silhouettes!

Mere man would look aghast no doubt
And voice a thousand vain regrets;
But though these ladies ne'er come out,
They look well in these silhouettes.

The Civic Ball In Silhouette, 1917


      Merrymakers at the Greater New York Civic Ball, held at the Biltmore in aid of after care for infantile paralysis cripples, took keen delight in the society revival of the fad of a generation ago--cut out silhouettes. Miss Beatrix Sherman, whose skill in catching a likeness with the scissors has been turned to pleasure and profit, made these. Above, at the left, is Dr. Haven Emerson, New York's Health Commissioner. Beside him is Miss Elsie Irving Tappin. Below, at the left, is Mrs. Edward E. McCall, and at the right is Major Cornelius Vanderbilt.


Monday, December 24, 2012

"The Lion and the Mouse Fable" in Silhouettes

The Lion and the Mouse

      "A hungry mouse notices a tree full of fruit and attempts to reach the fruit by climbing up a big rock, but to his surprise, the rock is actually a sleeping lion. The angry lion forgives the little mouse and helps him to reach the fruit. The lion laughs at the mouse when he promises to one day return the favor. However, when the lion gets caught in a thicket of vines and the mouse comes to his rescue, the lion realizes that even the small can be a big help."

Friday, December 21, 2012

The Pied Piper Silhouettes by Kathy Grimm


       I have redrawn my variations of silhouette's originally designed by Lotte Reiniger and Paul Wegener for their film "The Pied Piper of Hamelin," in 1918. You can download these here, read the Terms of Use.

Noyeokgae


"The process of cording and weaving hanji (Korean handmade paper) by a master weaver, Na Seo Hwan. He is a 3rd-generation master who learned from his father, who learned from his grandfather. He has also developed a more effective and efficient way of cording paper, which is different from the way most paper weavers work. This ancient paper craft, known formally as noyeokgae, still exists in Korea today but the intense labor, time, and strength required for it means that very few masters remain, and even fewer serious disciples."

Special thanks to my teacher, Na Seo Hwan.
Thanks to the U.S. Fulbright program for the time and funding to make this research possible.
Camera and editing by Aimee Lee
© 2009

Traditional Paper Angels

illustrated paper angel
       Small and simple pieces of full-round paper sculpture may be no more than tubes or cones, standing by themselves, with a few details to give them identity. More elaborate pieces, built around a framework and tacked or stapled to it, are like low-relief figures carried around on both sides of a base, save that their paper shell is not flattened; it flares out as roundly as the design of the piece requires. Fitting tubes together where they join at difficult angles is something of a tinsmith's job, but it can be managed more easily through trial and error than in a material less tractable. 
       If the piece is to be big, it is advisable to make a miniature scale model of it until a perfect grasp of the technique is acquired. It is easier to handle and wrap small pieces of paper than big ones. The miniature model may be taken apart, its pieces spread flat, and used for patterns to enlarge to the proper size.
       A knowledge of sculpture is very helpful, even to designers who can draw what they want. To maintain proportion, anatomical correctness, and easy transition from one part to the next, is not so easy as in the making of low-relief paper sculpture. The worker must move around his composition, viewing it from all sides as it progresses, to assure a satisfactory result. 
       Those without too great a sculptural knowledge can take refuge in humorous or naive simplification. A child's or a primitive cartoonist's drawing is often very spirited. So can be the paper sculptor's work. But a sufficient background makes for even more telling effects in humor or simplification when they are wanted. 

Folded ''half'' pattern for small
paper angel.
TRY THIS:  On a circle of paper 4 or 5 inches in diameter, roughly sketch a little angel, its head and neck above the center of the circle. Bend the wings up and curl the rest into a cone, fastening it together with a pasted tab. Add a wand of a paper star on a toothpick. That is a piece of full round paper sculpture. (for older students) 
       Younger students may download the pattern I've included just right and cut away all black areas. Fold a white sheet of paper in half and trace around the "half paper pattern." Cut out the angel, fold sides of skirts together under the wings and tape these together. Fold the wings forward at the dotted lines. Color the angel if you wish. Give her a gold crown and sparkly wings.
Links to Paper Angel Patterns and Ideas:  The customary tradition of cutting paper angels has been around since I was a tot in Sunday school. I will keep an up-to-date listing of links to a variety of paper angels for those of my students who may wish to add a few new versions of these Christmas visitors to their mantle or tree.
  1. A paper plate paper angel craft 
  2. Paper Rosette Angels
  3. A basic paper angel from Instructables
  4. A paper quilled angel
  5. An angel made from books pages
  6. New Year Angel Paper Doll - by Helen Page
  7. Very sophisticated paper angels from Carol - multi-media

The Pleated Christmas Heart

      Pleated Christmas hearts (Danish: Julehjerte) are a Danish and north German Christmas tree ornament.
      The exact age and origin of the tradition of making paper hearts is unknown, but the oldest known pleated Christmas hearts were made by the Danish author Hans Christian Andersen in 1860. However, as Andersen's heart has no handle, it seems unlikely it could have been used as a Christmas tree ornament. That pleated heart is today located in the Hans Christian Andersen House in the city of Odense in Denmark. We know, however, that Andersen did make decorations for Christmas trees, and that the predecessors of the pleated Christmas hearts were made from wicker baskets.
      The oldest known guide to making pleated Christmas hearts is found in the Official Nordic handicraft Journal from 1871, and the oldest pleated Christmas heart (from 1873) is preserved at the National Museum in Copenhagen. But it was still some 40 years before the pleated Christmas hearts became more widespread.
      It is believed that kindergartens from around 1910 started spreading the use of the pleated Christmas hearts which were made from glossy paper in order to enhance the children's creative abilities, patience and fine motor skills.
      The first pleated Christmas book, called Julehjerter, was released by the Lottrup Knudsen brothers in 1975.
      A more recent book, which includes a big variety of pleated Christmas heart templates, is Francis Jordt's Flettede julehjerter.


More Hearts for Christmas:

Friday, December 14, 2012

Paper Silhouettes by Mrs. Collins

"Mrs. Collins" worked as a paper silhouette cutter in the city of Bath, England in the 1800s.

This silhouette portrait is presumed to of the famous author, Jane Austen.

Where does the word "silhouette" come from?

      Étienne de Silhouette (July 8, 1709 – 1767) was a French Controller-General of Finances under Louis XV.
      Sometimes said to be the next Niccolò Machiavelli, he was born in Limoges where his father Arnaud de Silhouette (from Biarritz, the modern Standard Basque form of the name would be Zuloeta) was sent. He studied finances and economics and spent a year in London learning from the economy of Britain.
Children learning to draw silhouettes in the 1800s
      He translated into French several works by Alexander Pope, Henry Bolingbroke, William Warburton's The Alliance between Church and State, (1736) as Dissertations sur l'Union de la Religion, de la Morale, et de la Politique (1742) and Baltasar Gracián's El político. The party of the Prince of Condé used his translations from English authors to criticize him but the protection of Madame Pompadour awarded him the position of Controller-General in 4 March 1759, the most extensive of all the administrative positions and a very unstable one. His task was to curb the running deficit and strengthen the finances for the Seven Years' War against Britain (1754–1763). Public opinion preferred his 72-million-livres public loan to the ferme générale, an outsourced tax collection system. He also reduced spending by the royal house and revised pensions. To favour free trade, he eliminated some taxes and established new ones operating on a unified French market.
      De Silhouette forecasted a bleak budget for 1760: income of 286 million livres compared to expenses of 503 million livres, including at least 94 million in debt service. In an attempt to restore the kingdom's finances by the English method of taxing the rich and privileged (nobility and church were exempt from taxes in the Ancien Régime). de Silhouette devised the "general subvention," i.e., taxes on external signs of wealth (doors and windows, farms, luxury goods, servants, profits). On 26 October, he took the war measure of ordering the melting down of goldware and silverware. He was criticized by the nobility including Voltaire, who thought his measures, though theoretically beneficial, were not suitable for war time and the French political situation.
      On 20 November 1759, after eight months in the position, he left the court and retired to a chateau at Bry-sur-Marne, where he set about improving it. After his death in 1767, his nephew and heir Clément de Laage completed that work.
      Étienne de Silhouette's short tenure as finance chief caused him to become an object of ridicule and his penny-pinching manner led the term à la Silhouette to be applied to things perceived as cheap.
      During this period an art form of growing popularity was a shadow profile cut from black paper. It provided a simple and inexpensive alternative for those who could not afford more decorative and expensive forms of portraiture, such as painting or sculpture. Those who considered it cheap attached the word "silhouette" to it. The name stuck and so today we know it as a silhouette.

Who Was Johann Kaspar Lavater?

Johann Kaspar Lavater's silhouette machine.
The German scientist, Johann Kaspar Lavater, (1741-1801) developed a "scientific" method for taking accurate silhouette portraits. He was also known as a  poet and physiognomist and was born at Zürich on the 15th of November 1741. He was educated at the gymnasium of his native town, where J. J. Bodmer and J. J. Breitinger were among his teachers. When barely one-and-twenty he greatly distinguished himself by denouncing, in conjunction with his friend, the painter H. Fuseli, an iniquitous magistrate, who was compelled to make restitution of his ill-gotten gains. In 1769 Lavater took orders, and officiated till his death as deacon or pastor in various churches in his native city. His oratorical fervour and genuine depth of conviction gave him great personal influence; he was extensively consulted as a casuist, and was welcomed with demonstrative enthusiasm in his numerous journeys through Germany. His mystical writings were also widely popular. Scarcely a trace of this influence has remained, and Lavater's name would be forgotten but for his work on physiognomy, Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe (1775-1778). The fame even of this book, which found enthusiastic admirers in France and England, as well as in Germany, rests to a great extent upon the handsome style of publication and the accompanying illustrations. It left, however, the study of physiognomy (q.v.), as desultory and unscientific as it found it. As a poet, Lavater published Christliche Lieder (1776-1780) and two epics, Jesus Messias (1780) and Joseph von Arimathia (1794), in the style of Klopstock. More important and characteristic of the religious temperament of Lavater's age are his introspective Aussichten in die Ewigkeit (4 vols., 1768-1778); Geheimes Tagebuch von einem Beobachter seiner selbst (2 vols., 1772-1773) and Pontius Pilatus, oder der Mensch in allen Gestalten (4 vols., 1782-1785). From 1774 on, Goethe was intimately acquainted with Lavater, but at a later period he became estranged from him, somewhat abruptly accusing him of superstition and hypocrisy. Lavater had a mystic's indifference to historical Christianity, and, although esteemed by himself and others a champion of orthodoxy, was in fact only an antagonist of rationalism. During the later years of his life his influence waned, and he incurred ridicule by some exhibitions of vanity. He redeemed himself by his patriotic conduct during the French occupation of Switzerland, which brought about his tragical death. On the taking of Zürich by the French in 1799, Lavater, while endeavouring to appease the soldiery, was shot through the body by an infuriated grenadier; he died after long sufferings borne with great fortitude, on the 2nd of January 1801.

Lavater himself published two collections of his writings, Vermischte Schriften (2 vols., 1774-1781), and Kleinere prosaische Schriften (3 vols., 1784-1785). His Nachgelassene Schriften were edited by G. Gessner (5 vols., 1801-1802); Sämtliche Werke (but only poems) (6 vols., 1836-1838); Ausgewählte Schriften (8 vols., 1841-1844). See G. Gessner, Lavaters Lebensbeschreibung (3 vols., 1802-1803); U. Hegner, Beiträge zur Kenntnis Lavaters (1836); F. W. Bodemann, Lavater nach seinem Leben, Lehren und Wirken (1856; 2nd ed., 1877); F. Muncker, J. K. Lavater (1883); H. Waser, J. K. Lavater nach Hegners Aufzeichnungen (1894); J. K. Lavater, Denkschrift zum 100. Todestag (1902).

"Hark The Harold Angels Sing"

This old paper cut was designed by illustrator Jessie Gillespie. The faint writing describes the paper cut as originally measuring seven inches across. She named her piece "Hark The Harold Angels Sing" and cut it in 1911.

      Christmas vendors in the city streets of American cities are not the most common subjects found in paper cuts of the 1900s. Below I have uploaded a video discussing the origins of Christmas vendors in New York City.

Paper Cuts of Children from 1859

The silhouette artist of these particular samples is unknown. These examples come from the era of the American Civil War.

Paper cuts of female children in various poses.

More Links to Civil War Topics for Kids: