Alice in Wonderland (or Alice’s Adventures in Wonderland by Lewis Carroll) is in the public domain. Therefore as long as it doesn’t resemble the Disney version of Alice in Wonderland (or any other copyrighted variations of the original book) then I have free standing to sell my interpretation of the book. 🙂
Ooh that’s an interesting thought! I definitely have noticed an evolution of how I design certain things, specifically with faces. Early on I would have exposed eyes pasted over the face, and shape the nose with two separate facial pieces. Now I’ve found that cutting out the eye sockets and cutting a ‘flap’ for the nose creates natural shadows and is much more appealing to my vision in concept. I’ve
Ooooh definitely papercraft – but it’s also very (satisfyingly) tiring at times. Drawing is a great way to for me unwind and relax for evening.
Unfortunately, my schedule doesn’t allow me to have open private commissions at the moment. I can at most build 1 – 2 papercrafts a month depending on the complexity, so it’s very limiting if I open private commissions. Commercial commissions allow these box subscriptions to distribute my artwork on a larger scale to you all than one-on-one commissions would. But I’m not against it in the future if my schedule
The Ace of Shades “The Lovers, Reversed” papercraft is still my favorite piece. The mish-mash of symbolisms for the Lovers / Fool tarot cards and story elements fit together so well. The trifecta imagery of the golden God’s Robe / City Skyline / Spade was especially fun.
I use the patterns (or filigree) as a form of highlighting / shading. Similar to how an illustrator would use pointillism or cross-hatching to create different values with only two colors. Filigree is a more decorative form of those techniques for my papercrafts. I first draw major line forms to get the flow of the pattern, then fill in the gaps with random swirls or linework to create varied shapes
Pre-planning: I start by re-listening to the book for details and symbolisms. I take a lot of liberties with the art, but I don’t want to stray from the spirit of source material. I love adding in as much symbolism and hidden details as possible so avid readers can spot them Concept: I try to decide what dimension and size of frame I’ll use to house the papercraft. The depth
It depends on the complexity and size of the piece, as well as if I’m running into artistic blocks during the concept phase. An average breakdown of hours for each step for a few different pieces:
My absolute best tip for 2D papercrafting is practice drawing basic shapes for form. Many artists begin illustrations with simple shapes to build their subjects before adding detail. Papercrafting is devolving your concept back into simple shapes and contours. It’s important to simplify your shapes to be “clusters” if something becomes too detailed. Don Bluth utilized this technique in a lot of his films, especially with hair!
I started papercrafting when I was in middle school, but vastly different from the paper art I do now. I used to make 3D paper models from commercially made paper kits. My father gifted me my first paper kit (like on the left) from Germany and I was hooked! Unfortunately, it was very damaging to my hand to continuously cut paper for hours on end, so I stopped the hobby