With as much scientific query as artistic, his work considers the engineering principles at work in paper sculpture. Similarly to how you might trace the root of naturally forming patterns to fundamental mathematical truths, Matthew reveals the beauty in physics and displays it in his work. Here, he explains his process more.

“Hi, I’m Matt.  I fold, cut, and glue paper for a living.  

I do design work for Apple, P&G and Ghostly International.  I am working on two NSF grants right now using paper folding as a way to understand micro systems engineering.  I teach at the University of Michigan, show my work at galleries and museums and give lectures and workshops all over.”

“In my work I use paper, tyvek, computers, plotters, laser cutters, bone folders, CAD, x-actos, PVA glue, tweezers …”

“As a paper engineer my work is rooted in print media, book arts and commercial design. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifest in drawings and three dimensional forms. I use my engineering skills to create kinetic sculpture which has lead to collaborations with scientists at the University of Michigan.”

“We work on the nanoscale, translating paper structures to micro folds. Our investigations extend to visualising cellular division and solar cell development. Researchers see paper engineering as a metaphor for scientific principles; I see their inquiry as a basis for artistic inspiration. In my studio I am a collaborator, explorer and inventor.

I begin with a system of folding and at a particular moment the material takes over. Guided by the wonder, my work is made because I cannot visualize its final realization; in this way, I come to understanding through curiosity.”

© Matthew Shlian, 2012

From paper sculpture, detailed draughtsmanship, papercut, and plasticine modelling, they have been keeping it exciting with a spectrum of different ideas, we can’t wait to see what they have in store for us next. They tell us more about their studio and the project, and give us a glimpse of the backstage process.

The studio began in 1998 in Verona, the romantic city of Romeo and Juliet. In recent years we have worked with both large and small clients, for local agencies and major international companies.

Our approach to design is always the same: designing a logo, an advertising page, a wall or directing a commercial offers the same opportunity to deal with a problem. With time we have become quite good at solving problems. 

Mixing complexity, order and fatigue is our formula for beauty. Always, in addition to the commissioned work, we spend plenty of energy in research and testing. Visual art, typography, graphic design, illustration, animation, film direction and music. We like contamination between creative disciplines and diversity in general.

We don’t like to do the same thing twice and prefer to go beyond what we are already able to do. It is tiring but satisfying. 

We started collaborating with IL – Intelligence In Lifestile Magazine, supplement of Il Sole 24 Ore. Under the creative direction of Mr. Francesco Franchi, each month we develop the title typography for the brand new column “Remo Contro” written by the italian philosopher Remo Bodei. 

© Happycentro, 2012

“I am a freelance illustrator currently between the Midlands and London and I’ve recently finished the Illustration course at Kingston Uni. After working out ideas and roughs in my notebook, all of my final work is produced through digital collage of scanned photographic elements and pencil marks.

This way of working allows me to play around with compositions and ideas a lot more freely then when I worked exclusively by hand and I really enjoy it.” 

© Sam Falconer, 2011.

“A direct response to the D&AD Student Illustration Awards brief, which was to interpret two tracks by the same artist in an innovative manner. I chose two tracks from Broadcast’s 2005 album ‘Tender Buttons’, the tracks, being ‘I Found the F’ and ‘I Found the End’, mark the album as bookends, the former opens the album whereas the latter closes it.

Not long before the brief was set, the lead singer, Trish Keenan, died of pneumonia after complications from contracting the swine flu virus. Not only did this spur me on to push the boundaries of how I normally worked, it suddenly made the tracks I chose much more poignant and personal.”

“I chose the object of a synthesiser because for me it’s synonymous with Broadcast’s sound and image. I wanted the synth to look organic as their music is comprised of both the digital and the analogue in an unusual and yet distinctive way. The interface was key to the success of the project, I wanted it to look retro but modernist, colourful yet considered, I wanted it to look playable but incomprehensible and totally bizarre at the same time.

Most traces of a traditional synthesiser are lost and instead replaced with strange dials and weird buttons, odd images full of nostalgia. The synth is a response to the first track, ‘I Found the F’.”

“It seemed only natural to include an instruction manual to work alongside the synth, ‘I Found the End’, represents death and loss, it stands as a shadow of its former; no lyrics are sung, the only noise heard is a slowed down instrumental loop taken from ‘I Found the F’. The manual features imagery from the synth, altered and redesigned to work with and also against the synth, the words are cut out as there are no lyrics in this song, yet it still hints to something that once was.”

 © Jack Hughes, 2011.

It’d make an especially good gift for children, who could plant and watch the flowers grow, while learning about environmental issues and building an understanding about the natural world. These are all themes Anieszka likes to bring into other parts of her design work, as she talks about below.

We’ve included a picture of one of Anieszka’s favourite places at the end.

A lot of my work is about different environmental issues such as conservation, sustainability, biodiversity, growing food and working as a community. I love working with paint, found pieces of paper/texture and then getting everything really messy, then scanning in the work and layering more things onto it in Photoshop. I also love taking photographs on really old cameras and not knowing what they will look like until you develop them!

©Anieszka Banks, 2011

He was kind enough to have a chat with Ape on the Moon in which he talked about his choice of materials, advice he would give to model makers, and the ever inspirational Lego.

When did you first find out you were interested in model making?

Model making has always been a big part of my life. Like loads of children, it probably started with Lego. I don’t think it would be an exaggeration to say that most of my life outside of school between the ages of 4 and 12 was spent making things out of Lego.

I remember it almost being like a ritual where I would pour the boxes of Lego out over the floor and sit in the middle of it all! As I grew older, I started making things out of other materials. I remember that I was also quite destructive sometimes and would want to take things apart with screwdrivers, much to my mum’s annoyance. I guess I was just inquisitive in that way and this interest has often fed into my work.

What’s your favourite material to work in?

I don’t particularly have a favourite material, but in terms of versatility and economy, paper and cardboard have been a big part of my work over the last 3 years. The great thing about these materials is that they are readily available, come in a variety of colours and you don’t need any specialist tools to work with them. They also seem to photograph well and give a nice, graphic, matt finish.

More recently, I have strived to work with other materials where possible such as wooden blocks, matchsticks and even eggshells. It is a nice feeling when you start to play around with new materials to discover what you could make with them.

What has been your most challenging project so far?

I would say my most challenging commercial project has been the Selfridges ‘Transformation’ windows that I created last year. It was challenging as the timescale was very short, the budget was tight and it was a big undertaking.

My time was split between crafting the hand-made sculptures (including a large castle made from books), and art directing the engineers and other prop makers who helped construct the displays. There was also a big worry along the way that we were not going to be able to get the two motorbikes for the big window, but luckily Honda came in as a sponsor and donated the bikes. When the displays were up, suddenly it all felt worth it.

My recent project ‘What Came First?’ was probably my most challenging model making experience. Eggshells are of course incredibly brittle and so it was very difficult assembling the piece without it all cracking. It took a few failed attempts, but I got there in the end.

Is there any kind of work that you would like to do, which you haven’t done yet?

I would like to do some larger scale pieces in the same sort of vein as my Chicken/egg sculpture or my ‘Stick Insects’ series where I create something out of other objects. I would also like to work with photographers as a set designer to do some interesting accessories shoots. Another long term plan of mine is to get back into animating some of my work. It is something I really enjoyed doing whilst at university.

What advice would you give to someone who would like to go into a similar field as you?

Well, I still feel like I am finding my way the field. I think studying Illustration at university has given me a slightly different perspective about where I can apply my skills, rather than opting to study 3D design for example. I can imagine myself having gone down the product design route, but I quite like how some of my work blurs the boundaries a little between these sorts of fields.

I think, for me, I have learnt the importance of personal work and experimenting with different materials. In my experience, clients will only ever really ask for something you have pretty much already done, so unless you are happy with always making the same sort of things, then I guess you need to set aside time to do personal work. If you are skilled at making things, I would definitely recommend practising your skills with still life photography. For people to know about your work online, then you need to have good photos of your work.

I often collaborate with photographers on projects, but it is definitely useful to get to know how to photograph your work and show it in its best light. Unfortunately, as much of my work is made from disposable materials, they no longer exist in real life and have not stood the test of time and so they exist now only in the photos.

A lot of interesting stuff and great advice— thanks, Kyle!

© Kyle Bean, 2011.

I love the decorative boarders and the typographic elements in her work, but it’s the detailing and way she uses space that I find really astonishing. In this portrait of Madonna, the cuts seems so smooth that they could easily be brush and ink. In the wedding portraits, it’s the shades described in the hair I find really breath taking.

© Julene Harrison, 2011.

Working both digitally and by hand, she creates her work by dipping into a vast collection of found materials, which has been part of her process since studying at the Royal College of Art, London. With this extensive resource and an array of design skills to draw from, each piece is unique in character.

© Michelle Thompson, 2011.

I think it’s also the array of marks and materials used that gives them the depth and interesting nooks and crannies they have. Soft water colours sit next to patches of fine detail in pen and ink, and patterns, which are sometimes drawn and sometimes found and scanned.

Birmingham-born Sam says that she draws inspiration from her urban surroundings, including nightlife and fashion, but also finds the natural world a big influence on her work.

© Sam Pierpoint, 2011.

All I Heard Was The Echo In The Light is sunshine, desert & succulents. It’s going outside at night, watching the dying suns and witnessing the new ones being born. Everything to and from dust. Geodesic domes, the 1960s, the sky & being alone. It’s about all the people I have never met.

It’s about all of us living and about all of us dying. It’s about all the love I have for everything. There may be a crystal or two involved, sorry, I tried to keep it scientific. It’s sewn. It’s printed. It’s painted. It’s 100% handmade. Everything is infinite. It will last forever & it will also end on July 10, 2010

This is a good example of how flexible and experimental Christopher is as an artist. He works in a wide range of materials, sewing into them, printing and painting onto them. Also, his designs have been used on as widely a differing collection of products as the techniques he uses to make them. He’s had his work on watches, on T-shirts, on trainers, in window displays, and even as vinyl decal wall art.

© Christopher Bettig, 2011.