My Journey with Paper Pulp
I spent years working digitally as a matte painter for film, including productions such as Star Wars and Star Trek. It was precise, screen-based work, and over time I found myself drawn back to something tactile — to making with my hands, where the material answers back.
Today, through my studio at lisaketty.com, I work exclusively with handmade sculptural art in two materials: paper pulp for sculptures and masks, and cardboard for framed reliefs. Both share the same foundation — they are sustainable, made from everyday material, and shaped entirely by hand.
Fresh paper pulp — notice the organic texture and malleable, clay-like consistency.
What is Paper Pulp?
Paper pulp is a sculptural medium made from paper fibres that have been broken down, mixed with water and adhesive, and formed into a mouldable paste. Unlike papier-mâché strips, paper pulp has a consistency closer to clay, which allows you to build up form, carve detail, and create complex texture.
Once dried, paper pulp becomes remarkably strong and lightweight. It can be sanded, painted, sealed, or left raw to show the natural fibre. The surface holds an organic quality that is difficult to replicate in any other material — subtle irregularities and visible fibre give the work depth and character.
A paper pulp mask showing intricate surface detail and natural texture.
Paper Pulp and Cardboard: Two Materials, One Practice
In my work I move between paper pulp and cardboard. Each offers a different set of possibilities:
Paper Pulp Sculptures
Best for: three-dimensional form, masks, sculptural reliefs, organic shapes.
Character: mouldable like clay, built up in layers, soft textured surfaces, fully sculptural.
Examples: expressive masks, geometric sculptures, relief panels.
Cardboard Reliefs
Best for: framed work, architectural composition, geometric design, flat reliefs.
Character: structured layers, clean edges, depth through stacking, graphic clarity.
Examples: colour-block compositions, minimal geometric forms.
Creating Paper Pulp: The Full Process
Materials You'll Need
- Paper source: cardboard boxes (my favourite), egg cartons, newspaper, or any uncoated paper. Avoid glossy or plastic-coated material.
- Water: for soaking and breaking down the fibres.
- Adhesive: white glue (PVA) or wallpaper paste — essential for strength.
- Blender or food processor: dedicated to craft use only.
- Large bucket or container: for soaking.
- Strainer or cheesecloth: to remove excess water.
- Mixing bowl: for combining pulp with adhesive.
- Sculpting tools: your hands first, plus optional clay tools for detail.
- Base structure: wire armature, cardboard forms, or moulds, depending on the project.
Step by Step
- Prepare the paper: tear cardboard or paper into small pieces, roughly 1–2 cm. Cover with warm water (I add a single drop of soap) and soak for at least 1–3 hours — longer for thick cardboard. The longer it soaks, the more easily it breaks down.
- Blend the pulp: drain most of the water, keeping the paper wet. Working in small batches, blend the soaked paper with fresh water (around 1 part paper to 3 parts water) until smooth, with no large chunks.
- Remove excess water: pour the blended pulp through a strainer or squeeze it through cheesecloth. You want it damp but not dripping — the consistency of thick oatmeal. Too wet, and it will take a long time to dry and may crack; too dry, and it won't hold together.
- Add adhesive: transfer the pulp to a bowl and add white glue at roughly 1 part glue to 3 parts pulp by volume. Mix thoroughly by hand. The glue gives the work its strength and prevents cracking as it dries.
- Begin sculpting: the pulp is now ready. Work it like clay, building up form gradually — apply it to armatures, press it into moulds, or shape it freehand. Paper pulp is forgiving; you can keep adding, smoothing, and refining as you go.
What I Wish I'd Known Starting Out
- Choose clean material: especially no food residue — even a little can make the pulp smell as it dries.
- Smoother is finer: the smoother the paper, the finer the pulp. For a soft, clay-like result, avoid heavily textured or printed paper.
- Customise your pulp: for pure white, use only white paper. Once mixed, you can add small pieces of coloured paper, dried flowers, or herbs for unique effects.
Close-up of the texture and dimensional quality of paper pulp while still wet.
And once it has dried, with the painting already begun in linoleum paint:
Sculpting Techniques
Paper pulp is versatile — it moves easily from delicate masks to bold geometric forms. These are the techniques I return to most often.
Building on Armatures
For three-dimensional sculptures I start with a basic armature: crumpled newspaper, shaped wire mesh, or cardboard structures. The armature provides support and reduces the amount of pulp needed, which also shortens drying time. Apply the pulp in layers, pressing firmly onto the base, and let each layer partially dry before the next. Keep the thickness around 1–2 cm — thinner and it may bend, though you can flatten it again with something heavy, such as a stack of books, on top.
Masks and Reliefs
Masks are one of my favourite forms to explore. You can sculpt directly into the pulp as you would with clay, building features such as the nose, cheekbones, and brow by adding pulp and shaping with fingers or tools.
Surface Texture and Detail
This is where paper pulp comes into its own. The natural fibre texture is beautiful on its own, but you can also:
- press objects into the wet pulp for impressions — stamps, leaves, flowers
- carve patterns into partially dried pulp with sculpting tools
- smooth areas with wet fingers or a sponge for contrast
- build up dimensional elements by adding fresh pulp to dried areas
- score geometric lines while the pulp is firm but not fully dry — I usually do this while it is still wet
Paper pulp sculptures showing different textures and finishing techniques.
Drying — Be Patient (Or Use Heat)
This is the hardest part: waiting. Air-dried, paper pulp typically takes 3–7 days to dry fully, depending on thickness, humidity, and air circulation. Thin areas dry first; thick sections take longer.
I prefer not to wait that long, so I use my oven to speed it up — around 3 hours instead of days.
If you try this, be careful: use a maximum of 70°C (160°F) on the fan/convection setting. Keep the temperature low and check the piece regularly. Too much heat causes warping or cracking, so some patience is still required — just less of it. Rotate the piece occasionally for even drying.
Finishing the Work
Once the sculpture is completely dry — test by feeling for cool spots, which are still damp inside — you can begin finishing.
Surface Preparation
Sand any rough edges gently if you wish, though I often keep the organic, irregular surface. For a smoother finish, apply a thin layer of gesso and sand lightly between coats. For a rawer look, skip the gesso entirely.
Painting and Colour
I work with linoleum paint for its depth and matte finish. You can paint directly onto the dried pulp, or prime first for stronger colour. I am drawn to restrained, earthy palettes that complement the organic nature of the material. Build colour in thin layers so the fibre texture shows through, and leave some areas unpainted to keep the raw material visible.
Sealing and Protection
Seal the finished piece with varnish — matte, satin, or gloss, as you prefer. This protects the surface, strengthens the sculpture, and makes it slightly water-resistant. Apply 2–3 thin coats, letting each dry fully. Sealed paper pulp is surprisingly durable and lasts for many years.
Finished paper pulp sculptures showing various painting and finishing techniques.
Why Paper Pulp?
After years of digital work, paper pulp reconnected me with the simple act of making. There is something quietly satisfying about turning discarded material — cardboard that would otherwise be recycled — into work with presence and weight.
The process asks for patience: soaking, blending, sculpting, and waiting while it dries. But that patience is where the work happens. You learn to follow the material rather than force it, and the small accidents along the way often become the defining features.
It is also genuinely sustainable. I use packaging, waste cardboard, and old paper — material that has already served its first purpose. Giving it a second life as art feels meaningful, especially against a backdrop of overconsumption and waste.
Starting Your Own
If you feel like trying paper pulp, start simple. Make a small relief tile or a basic mask form. Don't aim for a masterpiece — focus on learning how the material behaves, how it dries, and how it responds to your hands.
Save your cardboard for a week and you'll have plenty to experiment with. The forgiving nature of paper pulp means mistakes are never permanent — you can always add more, smooth it out, or build on what you've made.
Through my studio at lisaketty.com, I work with both paper pulp sculptures and cardboard reliefs, each piece handmade in Denmark and packed by me. Every work is an original — no two are exactly alike.
Whether you are an experienced artist exploring a new medium or someone who has never sculpted before, paper pulp is a welcoming place to begin. Gather your material, follow the process, and see what emerges.