Grade 9-TLE Fashion Accessories (Origami)

Quarter 4

Tracing the History and WEEKS 1–2

Development of Paper Mache
I Lesson
Learning Task 1: If the statement is true, write true; if it is false, replace the underlined word that
makes it wrong and write the correct statement.
1. Paper mache originated from China during the Tang Dynasty.
2. Paper mache was used to make two-dimensional objects like pot lids.
3. Interest in paper mache spread to Japan and Persia.
4. In 1800s, paper mache was used for architectural and ornamental attachments.
5. The oldest surviving artifact of paper mache is a Persian falcon’s coffin.

D
HISTORY OF PAPER MACHE
Despite the French name, paper mache, also spelled as papier-mâché, actually originated
from China not long after the Chinese people invented the paper itself. From the genesis, the
interest in paper mache spread to Japan and Persia and eventually to the rest of the world. Large
imports of paper mache objects swamped European markets, leading France start making its own.
Only then until the 17th century the technique and material made an appearance in the European
country.
Invented during the Han Dynasty, c. 202 B.C.–220 A.D, this composite material, initially
described as pasteboard, was used to make mask in celebrating festivals and three-dimensional
objects like artifacts such as helmets and pot lids.
From 1670s until the late 1700s there was a half-hearted intent of paper mache, but
because this material was lightweight and durable at the same time, many people began
patronizing it.
In 1740 the manufacturer John Baskerville, well known for his fine quality books and
typefounding, began to imitate the lacquered pieces from Japan. This is how the term “japanning”
came about. His business was very successful and later his assistant Henry Clay, invented a way
to produce paper mache so strong that it was equally as durable as wood. He did this by gluing
specially prepared paper under heat to form tough, heat resistant panels.
Henry Clay had taken out a patent on his invention, but when this ran out, small companies
mushroomed, producing just about everything from paper mache. They were mostly concentrated
in the Birmginham and Wolverhampton areas where we get the beautifully decorated black
enameled pieces so treasured today.
However, paper mache has quickly been replaced with more practical and easily mass-
produced materials like plastic, so the technique is no longer commercially accessible for
decorative objects.
 E
Learning Task 2: Answer the following.
1. When did paper mache appear in France?
2. In the context of John Baskerville’s business, what is the synonym of japanning?
3. During the past centuries, why has paper mache rapidly gained its prominence?
4. During the modern times, why has paper mache rapidly lost its initial prominence?
5. What was the language of the word, papier-mâché?

A
MORE BACKGROUND INFORMATION
 The oldest surviving artifact made of paper mache is a falcon’s coffin from Persia.
 Ancient Egyptians used paper mache to make death masks using linen and plaster.
 Until 1970s, paper mache was used for casting molds for daily newspapers.
 In 1800s paper mache was commonly used for ornamental attachments on architecture.
Learning Task 3: Summarize the history of paper mache in 3 to 4 sentences. The summary must
basically include how paper mache existed and its uses.

Selecting Tools and Materials WEEKS 3–4

in Making Paper Mache
I Lesson
Learning Task 1: If the statement is true, write true; if it is false, replace the underlined word that
makes it wrong and write the correct statement.
1. Oil paint dries slower than acrylic paint.
2. To quickly paint a large area, it is best to use the fan paintbrush.
3. Cardboard and adhesives are the main materials in making paper mache.
4. Paste made of flour and water is ideal for layering paper.
5. The right way to use any paintbrush is to stroke perpendicular to the hairs or bristles.

D
After learning the history of paper mache and its ancient uses and importance to different
countries, you are now expected to identify the tools and materials used to make paper-mache
projects.
Materials
Paper is the main material in making paper mache. It can include
newsprints, magazines, old books, etc.

Cardboard can be used to make basic structures and surface

decoration.

Adhesives are used to bind paper.

a. Wallpaper paste is a cellulose wallpaper paste made from
adhesive granules or flakes mixed with water.
b. Polyvinyl acetate (PVA), commonly known as wood glue,
carpenter’s glue, school glue, or Elmer’s glue in the US, is an
easy-to-use, multi-purpose, and widely available adhesive used
for porous materials like wood, paper, and cloth. Although white,
when dries it is transparent and, as a finish, gives a glossy,
protective surface.
c. Flour-and-water paste is ideal for paper mache layering and
works as well as wallpaper paste which could be added with salt
and should be covered and refrigerated between sessions to
remain viable for several days.
Paints are colored substances spread over a surface and dries to
leave a thin decorative or protective coating.
a. Acrylic paint is a fast-drying paint made of pigment suspended
in acrylic polymer emulsion and plasticizers, silicon oils,
defoamers, stabilizers, or metal soaps. It is water-soluble but
becomes water-resistant when dry. Depending on how much the
paint is diluted with water or modified with acrylic gels, mediums,
or pastes, the finished acrylic paint can mimic watercolor,
gouache, or oil paint, or have its own unique characteristics not
attainable with other media.
b. Enamel paint is produced by adding lead or zinc to varnish and
pigments to achieve a wide variety of colors. It forms hard and
glossy coatings that are easily cleaned. It is waterproof and
chemically resistant, offering good coverage and color retention.
c. Oil paint is a slow-drying paint that consists of particles of
pigment suspended in a drying oil, commonly linseed oil. Its
viscosity may be modified by the addition of a solvent such as
turpentine or white spirit, and varnish may be added to increase
the glossiness of the dried oil paint film.
d. Watercolor is a slow-drying paint made of pigments suspended
in a water-soluble vehicle.

Varnish is resin dissolved in liquid to form a hard, clear, shiny,

transparent protective finish or film when dry.

Tools
Scissors are used to cut paper and thin cardboard.

Knives are used to cut thick cardboard and remove sharp edges.

Paintbrushes are used to paint, sometimes varnish. They commonly

vary in terms of their bristles, specifically the bristles’ shapes and
types.
S Round: pointed tip and Good for sketching, outlining,
H long closely arranged controlled washes, filling in small
A bristles or hairs areas; more pressure creates thicker
P lines
E Pointed round: narrower Good for fine details, delicate areas,
S than the round paintbrush spotting and retouching
 Flat: square end Good for bold strokes, washes, and
varnishing; longer hairs fill wider
spaces
Bright: flat with edges Good for short and controlled
curved inward at tip strokes; better for working up close
Filbert: flat and oval- Good for blending
shaped end; combination
of round and flat
Shader: flat with angled Good for curved strokes and filling
bristles or hairs at end corners; can reach small areas with
tip and cover wider spaces similar to
the pointed round and flat,
respectively
Fan: flat and spread Good for smoothing, blending, and
bristles or hairs feathering
Detail round: short Good for details and short strokes
bristles or hairs and
handle

Natural bristles are Recommended for oil-based paints;

T typically made of animal if used with latex ones, the bristles
Y hair. would absorb the water and swell
P Synthetic bristles Recommended for water-based
E include nylon, polyester, (latex) paints
S and the combination of
these.

E
Learning Task 2: Enumerate and describe the different materials and tools used to make paper
mache. Do NOT include their subcategories. In other words, if a certain material or tool (e.g.,
adhesives) has different types, only write about that material or tool and NOT its different types.

A
Learning Task 3: Answer the following.
1. Should you turn a wide brush sideways to use its narrow edge (i.e., applying paint
perpendicular to the bristles) or not (i.e., applying paint parallel to the bristles)? Why or why
not?
2. What makes a paintbrush with natural bristles unadvisable for water-based paints?
3. Is using synthetic bristles completely unadvisable for oil-based paints? Why or why not?
4. Describe the various paintbrushes in terms of their bristles’ shapes. Identify their functions.
5. Describe the variety of paintbrushes in terms of the types of the bristles. Identify their functions.

Following Methods and Procedures WEEK 5

in Making Paper Mache
I Lesson A
 After learning the tools and materials needed to make paper mache and their proper uses,
you are now ready to create paper mache! You are expected to discuss, follow, and demonstrate
different methods, techniques, and procedures in making paper mache projects/products.

D
LAYERING METHOD
The most common method to create paper mache is the layering method. Here, paper
strips are soaked in glue and added to a mold layer by layer.
Prepare the mold or structure. Tear paper into small strips about ½ in (1 cm) wide x 2 in (5 cm)
long. This size strip will mold well round most curves.
Use water only to dampen the strips and smooth each one in place, overlapping the edges
slightly to build a layer reaching to the outside edge. Allow the strips to overlap the edge slightly
as this can be trimmed later.
Apply the second layer of strips, this time using paste and work the strips in other direction. This
helps to build a firm, strong web. Paint and paste over the surface and smooth with your hands
to remove any air bubbles. Do this after applying each layer of strips.
Add another layer of glued strips, working downward in the same direction as the first layer.
Continue in this way until the layers are thick enough to hold the shape.

E
Learning Task 1: Discuss the different procedures when applying techniques in layering the
paper.

A
Learning Task 2: Demonstrate the different methods in paper mache by layering. Take a picture
of the product being created and transformed through each procedure along with your hands (one
pic per step) until you completed the project. Take 3 more pictures of the final product at different
angles. Then send all the 7 pictures in total in the group chat (4 pictures of each procedure and 3
of the final output). Your demonstration will be rated through the following performance rubrics.
CRITERIA FOR EVALUATION OF THE PROJECT VALUE
Originality 5
Product
Visual impact as reflected by proper application of the elements of
Design 10
design and the principles of art
(30)
Showing well-proportioned and stable structure of the product 15
Material accessibility of procurement—reflecting environmental care
10
and friendliness
Used
Quality of materials used reflecting durability and beauty 10
Materials
Economy of the materials used—reflecting affordability if materials
(30) 5
are purchased
Observable availability of materials during product/project making 5
Manner of technique demonstration—reflecting coherence from the
10
start to finish
Craftsmanshi Condition of craftmanship—reflecting high quality of finished product. 10
p Individuality/uniqueness of technique—reflecting feasibility of style
10
(40) and originality of craftmanship.
Suitability of the technique employed to the design and product
10
created
TOTAL 100
 Following Methods and Procedures WEEK 6
in Making Paper Mache
I Lesson B
After learning the tools and materials needed to make paper mache and their proper uses,
you are now ready to create paper mache! You are expected to discuss, follow, and demonstrate
different methods, techniques, and procedures in making paper mache projects/products.

D
PULPING METHOD
This is modeling clay to make paper mache. Materials:
1. Tear the paper into small pieces no larger than  6 double sheets of newspaper (or
5/8 in (15 mm) square. Put the paper into the
similar quantity of other white
bucket and cover with water. Add the fabric
paper)
conditioner.
2. Pour water and paper into large saucepan and  ¼ cup fabric conditioner
bring to boil. Simmer for 30 minutes. The paper  7 large spoons of whiting or
will begin to break up. If a dark scum rises to the ground chalk
top of the water, skim this off. Leave the mix to  6 large spoons mixed wallpaper
cool. paste
3. Working in batches, mix, using the blender. Strain  2 medium-sized spoons linseed oil
the pulp into a sieve and press with the back of a  4 medium-sized spoons PVA
spoon to remove as much water as possible. adhesive
4. Transfer the strained pulp to a large mixing bowl.
 Large saucepan
Stirring well, mix in the whiting and wallpaper
paste, then the linseed oil and PVA adhesive. Mix
thoroughly. The pulp is ready for use.

E
Learning Task 1: Discuss the different procedures when applying techniques in pulping the
paper.

A
Learning Task 2: Demonstrate the different methods in paper mache by pulping. Take a picture
of the product being created and transformed through each procedure along with your hands (one
pic per step) until you completed the project. Take 3 more pictures of the final product at different
angles. Then send all the 7 pictures in total in the group chat (4 pictures of each procedure and 3
final outputs). Your demonstration will be rated through the following performance rubrics.
CRITERIA FOR EVALUATION OF THE PROJECT VALUE
Originality 5
Product
Visual impact as reflected by proper application of the elements of
Design 10
design and the principles of art
(30)
Showing well-proportioned and stable structure of the product 15
Used Material accessibility of procurement—reflecting environmental care 10
 and friendliness
Quality of materials used reflecting durability and beauty 10
Materials
Economy of the materials used—reflecting affordability if materials
(30) 5
are purchased
Observable availability of materials during product/project making 5
Manner of technique demonstration—reflecting coherence from the
10
start to finish
Craftsmanshi Condition of craftmanship—reflecting high quality of finished product. 10
p Individuality/uniqueness of technique—reflecting feasibility of style
10
(40) and originality of craftmanship.
Suitability of the technique employed to the design and product
10
created
TOTAL 100

Producing Paper Mache WEEK 7

Products and Projects
I Lesson A
In making the project, it is important to follow these guidelines.
1. Prepare the necessary tools and materials in making the products.
2. Based on the given procedures, execute the article with a project plan. You may refer to this
procedure, but you could also modify. Be creative in doing your paper craft articles.
3. Practice safety and precautionary measures.
4. Follow the rules and regulations when making projects in the laboratory

D
PROJECT 1: ART DECO PLATE (Layering Method)
1. Smear the surface and edges of the plate with petroleum jelly. Materials:
2. Brush paste on to one side of the paper strips. Apply to the
plate. Start the edges and work towards the center,  Plate for a mold
overlapping the strips.  Petroleum jelly
3. When the plate has complete layer of paper, leave to dry.  Any paper torn into 4
4. Apply 5 more layers, leaving the work to dry between each x ½ in (10 X 1 cm)
application. strips
5. After the final layer, gently lift the paper shell from the plate.  Mixed wallpaper paste
Trim the edges with sharp scissors.  Tissue paper
6. Paste small pieces of tissue paper over the surface of the
 PVA adhesive
shell, taking the tissue over the edges. Then work the back of
the shell.  White emulsion paint
7. Continue adding layers of paste tissue paper until the paper  Acrylic paints
plate thickens and solidifies and the surface becomes smooth.
8. When the plate is completely dry, paint it with white emulsion
paint.
9. Finally, decorate the plate with acrylic colors.

E
Learning Task 1: Discuss the different procedures when applying techniques in pulping the
paper.

A
Learning Task 2: Demonstrate the Project 1: Art Deco Plate (Layering Method). Take a picture
of the product being created and transformed through each procedure along with your hands (one
pic per step) until you completed the project. Take 3 more pictures of the final product at different
angles. Then send all the 12 pictures in total in the group chat (9 pictures of each procedure and 3
final outputs). Your demonstration will be rated through the following performance rubrics.
CRITERIA FOR EVALUATION OF THE PROJECT VALUE
Originality 5
Product
Visual impact as reflected by proper application of the elements of
Design 10
design and the principles of art
(30)
Showing well-proportioned and stable structure of the product 15
Material accessibility of procurement—reflecting environmental care
10
and friendliness
Used
Quality of materials used reflecting durability and beauty 10
Materials
Economy of the materials used—reflecting affordability if materials
(30) 5
are purchased
Observable availability of materials during product/project making 5
Manner of technique demonstration—reflecting coherence from the
10
start to finish
Craftsmanshi Condition of craftmanship—reflecting high quality of finished product. 10
p Individuality/uniqueness of technique—reflecting feasibility of style
10
(40) and originality of craftmanship.
Suitability of the technique employed to the design and product
10
created
TOTAL 100
Producing Paper Mache WEEK 8
Products and Projects
I Lesson A
In making the project, it is important to follow these guidelines.
1. Prepare the necessary tools and materials in making the products.
2. Based on the given procedures, execute the article with a project plan. You may refer to this
procedure, but you could also modify. Be creative in doing your paper craft articles.
3. Practice safety and precautionary measures.
4. Follow the rules and regulations when making projects in the laboratory

PROJECT 2: ROSE BOWL (Pulping Method)

1. Grease the inside of the bowl with petroleum jelly. Materials:
2. Press an even layer of pulp, 1/4 in (6mm) thick, to the inside of the
bowl. Begin at the bottom of the bowl and work up the sides. Leave  Bowl for a mold
it to dry.  Petroleum jelly
3. If cracks appear after drying, fill them with more pulp and smooth  4 cups of mixed
out the surface. Leave it to dry again. paper pulp
4. Twist the pulp bowl gently to remove it from the mold.  Fine sandpaper
5. If there are uneven places on the edges, fill out with paper pulp.  PVA adhesive
Leave it to dry.  Acrylic paints
6. Rub the edges of the bowl with sandpaper for a smooth finish.
 Clear
7. Paint the bowl inside and out in a plain color or in a deceive
pattern, such as the simple rose design. polyurethane
varnish
8. Give the finished bowl 2 coats of diluted PVA adhesive or 4-5 coats of polyurethane varnish.
Leave each coat to dry before applying the next.

Learning Task 1: Discuss the different procedures when applying techniques in pulping the
paper.

A
Learning Task 2: Demonstrate the Project 2: Rose Bowl (Pulping Method). Take a picture of
the product being created and transformed through each procedure along with your hands (one
pic per step) until you completed the project. Take 3 more pictures of the final product at different
angles. Then send all the 11 pictures in total in the group chat (8 pictures of each procedure and 3
pictures of the final output). Your demonstration will be rated through the following performance
rubrics.
CRITERIA FOR EVALUATION OF THE PROJECT VALUE
Originality 5
Product
Visual impact as reflected by proper application of the elements of
Design 10
design and the principles of art
(30)
Showing well-proportioned and stable structure of the product 15
Material accessibility of procurement—reflecting environmental care
10
and friendliness
Used
Quality of materials used reflecting durability and beauty 10
Materials
Economy of the materials used—reflecting affordability if materials
(30) 5
are purchased
Observable availability of materials during product/project making 5
Manner of technique demonstration—reflecting coherence from the
10
start to finish
Craftsmanshi Condition of craftmanship—reflecting high quality of finished product. 10
p Individuality/uniqueness of technique—reflecting feasibility of style
10
(40) and originality of craftmanship.
Suitability of the technique employed to the design and product
10
created
TOTAL 100