Known for her amazing array of paper art pieces, Kate from KR Creative talks to us about the special pieces she has created for big brands.
Q: Tell us a bit about how you started to work with paper.
I started dabbling in paper engineering by entering a styling competition for Mimco and recreating some of their bags in paper. It kicked off as a business three years ago when a magazine approached me to make a paper flower backdrop for their cover shoot. I now make a lot of paper pieces as part of my full-service creative agency.
Q: What have you been working on recently?
I have been working on special pieces for Peter Alexander, Avon Australia, Forever New, Diana Ferrari, BJ Ball Papers, Westfield and LendLease.
Q: What is your creative process once you receive a brief?
I start the creative process researching the theme online, in magazines and books. Then I sketch some ideas (on paper), hand cut and play with smaller pieces of paper to see if the construction can work before transferring them to the computer to create the cutting files. Most of our paper creations are die-cut but in some designs there are hand-cut elements as well as there needs to be more of a free-form aspect.
Commercial creative briefs can be quite varied. Most are very specific in the look, colour, shape and size that our paper pieces need to be, but sometimes we are given more freedom to create our own vision, which is fun and enables us to have a much stronger ownership of the final piece.
Q: Tell us about the paper sculptures you created for our client, what was your creative process?
Last year I was commissioned by event Emporium to create 4 art pieces for a corporate roadshow and was given a fair bit of freedom to create the paper pieces.
The client brief was to create 4 art pieces out of white paper with the theme of the company’s new logo, they were to be an interpretation of four key buildings from four capital cities across Australia. The pieces needed to be able to be transported across the country and they needed to be a specific size. I was asked not to create exact replicas of the building, they needed to be a re-imagining, this is where the freedom for creativity began.
These four pieces were quite architectural in their form, and was a completely new style and way of working for me and definitely pushed me out of my comfort zone in terms of thinking and approaching the brief. For the initial brainstorming, I worked with an architect to better understand the structural aspect of this brief. The pieces need to be self-supporting and viewed from 360 degrees.
Sketches and “doodling” was step one, followed by drawing the shapes and elements in Illustrator, these were printed and handcut to create models 1/5 of the final size to work out how each element needed to be constructed. Each piece was then constructed with varying weights and textures of paper.
Q: How did you want the audience to interact with the sculptures?
I was not sure how people would, or how I wanted them to, interact with the pieces. As the pieces were three-dimensional and on raised plinths, it meant people could view them from any angle, this allowed them to move around the pieces.
Some event attendees were touching the sculptures! This was a little concerning as they were quite fragile, but also interesting to watch to see how people handled them and interacted with them. It was quite a nice feeling to watch their faces when they realised what the pieces were. Once they realised which piece represented which building, they went around to each one to see which elements of the buildings were in each piece.