In the background paper pulp is being formed into a rubber mold. In the foreground the cast paper is being cleaned up before the patina is applied.

Initially, small amounts of the cotton pulp are pressed into the deeper crevices of the rubber mold that has been taken off the original wax sculpture. The artisans who are pressing the image carefully consider how the elements of the design will respond to the layering, pressing and drying process of making the cast paper. A two-inch layer of wet cotton linter is methodically built up within a frame that surrounds the rubber mold of the quilt square.

The water is slowly extracted from the wet cotton linters with sponges and the cotton linter is repeatedly pressed forcefully in order to pick up the details of the rubber mold.

After the cotton linter is pressed and cast into the mold it goes into a drying oven for a few days. The cast paper shrinks slightly and pulls away from the mold in drying. Still, to avoid tearing, the cast paper and rubber mold have to be carefully separated when the paper is dry.

The bronze patina on the cast paper is made through applying more than twelve spraying, sponging, brushing and rubbing layers of gesso, paints and waxes. This layering of colours effectively replicates a bronze patina look on the surface of the cast paper quilts. Michael has won awards in international sculpture competitions for his painted finishes on carvings.

Each Quilt Square is a Unique Wonder
The patinaed cast paper is then mounted and framed. The final patina and framing polishes the pieces off. When the finished framed cast paper is displayed, it is always exciting, like opening presents.

Michael Irving applies pigments and waxes to create a "bronze patinaed" finish on the cast paper.

Six quilt square rubber molds were placed together with rubber molds of the quilt borders to create a six panel cast paper quilt.

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