Jo working on a wildlife inspired piece.
"My traditional style of paper cutting continues to be influenced by everyday observations and events
such a s a bird song, a poem, a beautiful day shared with a friend, or a special celebration"
-Jo Krajci
"THE ART OF PAPERCUTTING"
What beauty one can create with such simple materials: paper, pencil, scissors, craft knife and glue! And, the subject matter is all around us - nature, art, music, poetry, people…the creative possibilities are endless.
My traditional style continues to be influenced by everyday observations and events in my life, whether it is a bird song, a poem, a beautiful day shared with a friend, or a special celebration.
History
For as long as paper has been available it has been folded, cut and painted in countries as diverse as China, Mexico, N. America, Poland, Switzerland and Germany. From crisp vignettes and sacred pictures, papercuts have described the daily and seasonal activities of their makers proving the art to be one of everyday peoples.
Immigrants settling in Pennsylvania brought the tradition from Germany and Switzerland to this country. "Scherenschnitte," the German-Swiss word meaning "scissors cutting" is the most recognized word today for this fascinating art form.
Product Line
Each of my original papercuttings begins as a pencil drawing on either silhouette or parchment paper. I carefully handcut each drawing with scissors or craft knife. Parchment paper cuttings are usually watercolored and antiqued with tea after cutting, and then mounted (glued) to parchment paper. Silhouette papercuttings are also mounted to parchment paper after cutting. Each papercutting is placed in a wooden handgrained frame.
Since every papercutting is completely handcut, there will always be slight variation in each cutting of the same design, making it an original in its own right.
Beveled glass suncatchers are also available.
Frames:
I handgrain each frame. Handgraining is a centuries old technique of applying a base coat of waterbased paint followed by an oil glaze that, while still wet, is manipulated with graining tools such as feathers, combs, brushes, sponges, or putty. Two faux grains are offered: gold (simulating tiger maple/oak) or red (simulating dark cherry or walnut). A low lustre varnish is applied after graining to protect the finish.
ABOUT THE ARTIST
ME AND MY SHADOWS PAPERCUTTING STUDIO
I grew up in Philadelphia, PA. I have been fascinated with papercutting since 1980, and have studied and practiced drawing and painting since childhood. Education in fine art/fine craft includes Philadelphia University, Bucks County Community College, Tidewater Community College, and various professional workshops and seminars.
In 1980 a magazine article on silhouette cutting intrigued my interest to try this intricate cutwork. For several years portrait profiles were my expertise. This interest led me to search out other papercutters and their individual styles.
Professional credits include being accepted to the nationally known Early American Life Magazine Directory of the 200 Best Traditional Artists/Craftsmen for 2000 through 2006. I am a member of the Guild of American Papercutters; my work has been featured in national publications and displayed in private collections, retail and museum gift shops, and at fine art and fine craft shows; I have been commissioned by various community committees to design logos for their festivals, businesses, promotions, etc. My range of designs include one-of-a-kind, limited editions, and repeat cuttings of popular designs.
In 1995, I moved from southern Maryland and changed my full-time civil service career position in management for the Department of Defense (US Navy) to full-time artist in the beautiful fingerlakes region of New York. The desire to learn more about papercutting has led me to a full-time career as a professional papercutter. I feel that papercutting is now experiencing a resurgence, perhaps because it offers so many rewards while making so few demands.
Frequently Asked Questions:
How long does it take? It depends on the size and complexity of the design. The difficult and time consuming task is creating a good positive/negative drawing. A small (3"x3"), simple silhouette papercutting can be cut in approximately 20 minutes. A large (16"x20") papercutting may take days to draw and cut. Many hours are spent on design work.
How do you get the color? After the paper is cut, I apply thin washes of watercolor followed by speckles of dark watercolor to give the cutting an antique look.
What kind of scissors/paper/glue to you use? I use several kinds of scissors - embroidery, manicure, iris, fly fishing, (all surgical quality) etc., each with different size finger holes. I use 2 kinds of paper - silhouette paper which is black on 1 side and white on the other, and parchment/calligraphy paper. The glue I use is Elmer's Glue (thinned with water).
Where do you get your patterns? I design many of my papercuttings. I get many ideas from antique children's books, old illustrations, magazines, and basically the world around us. There are pattern books available in art and craft stores and book stores.
Do you fold the paper? No I do not. If the design is symmetrical, I prefer to cut it singley. I prefer not to have a crease in the middle of the cutting. Many of my designs are not symmetrical.
Jo demonstrating her intricate art.
To visit Jo's website, please click here.
