The black paint over the old gold paint was evenly distressed and worth preserving. The only problem was a large chunk of paint that flaked off in an almost perfect square, creating an unwanted focal point. That would have to go.

Once the mirror was removed from the frame, I cleaned the wood with a mild cleaner and covered the square chip with a square of black paper to mimic the missing chip of peeling paint. White glue or wood glue (yellow) will work fine to attach the paper to the frame. A light coat of semi gloss polyurethane varnish seals in the distressing and freshens the wood a bit.

On the mirror itself… The silver on the back was separating badly so I gently brushed off the loose sections.  Then I cleaned the glass in the exposed areas to remove the residue, taking care not to loosen any more silver.

The paper we choose to put behind the glass is a hand stenciled Japanese paper called Chiyogami. This pattern is typical of the types of traditional patterns done in this technique.  The blacks and greys in the pattern go well with the silver and black in the mirror, keeping the contrast in textures all in the same color family.

Once the mirror was assembled, I decided to make one last addition. The necessary clean up of the crumbling silver had left the edges sharper than our original vision. To soften the transition between the silver and the Chiyogami, I added a layer of torn edged tissue paper. The tissue I used is a black Japanese Kingin tissue which has flecks of silver and gold foil added. Although the metallic flecks are very subtle, they keep the tone of the whole piece.

Here is the final piece.. both rustic and elegant at the same time. I had such a difficult time photographing this mirror in a proper way. No matter how I tried, I would get the reflection of something in the remaining silver, which would distort the texture. But I think the final result does justice to this well worn piece.

Once I opened the box and skimmed the instructions, I realized adding paper to the design would be easier than I thought. No glue was needed! I could use one plastic panel as a template and simply layer the cut paper over the plastic as the lamp was assembled. The hardest part would be choosing a paper. Almost anything would do as long as it was not too thick. In the end, I chose a white embossed cotton paper. It would keep the overall design impact close to the original, but add a subtle texture.

The contents of the light kit are simple – a snap together plastic frame and semi translucent plastic shade petals.

Once assembled, the frame looks like science project but soon it will completely covered.

To cover the plastic petals, I used 3 sheets of 22″ x 30″ Butterfly Embossed paper. I traced the pattern on the wrong side, rotating the direction of the pattern as I moved around the sheet. Changing the direction of the pattern from piece to piece helps the pieces fit tighter on the sheet and also makes the overall pattern more random in the finished piece. Once all the pieces were traced and cut, I punched the holes for the snaps with a paper punch. Don’t worry if the holes are a bit larger than those on the plastic. The size difference will not show, and adds a little ease for the paper to curve over the plastic.

The assembly of the light follows the enclosed Knappa instructions with the exception of layering the embossed paper over the plastic petals.

The finished light has lots of texture added to the beautiful lotus shape.

This old vanity was found in a junk shop in Lancaster County, PA. It was missing it’s mirror and chunks of the bird’s eye maple veneer, but I fell in love with the graceful lines of the cabriole legs and the slightly bowed front. The missing top parts made refinishing the veneer a bit challenging, so it sat in the barn gathering dust for years until the silver washed cork paper landed on my desk and I started yearning for a makeover to showcase it’s amazing texture. Using the cork paper to cover the damaged veneer was a quick fix and spray painting the legs and trim sterling silver seemed like it would pull the look together with a minimum of fuss.

The original condition of the table included peeling veneer and surface stains but the structure was sturdy.

I re-glued the loose veneer with wood glue and patched the gaps with wood putty. When the putty dries and is sanded, the surfaces will be flat and smooth. Spring clamps keep the veneer tight to the wood under it until it dries.

Once the gaps were filled and the surface was smooth, I wiped the table with a tack cloth (or lightly dampened towel), sprayed a coat of gray primer, then a few coats of Krylon Sterling Silver allowing the paint to dry well between coats. The surface is starting to show a soft silver glow. – not too shiny.

Once the table was painted, it was time to apply the cork paper. I cut the pieces slightly oversized with a mat knife.  Before I glued the pieces in place with wood glue, I carefully roughed up the paint surface to be covered by the cork paper with sandpaper for a better bond.  Once the paper was in position, I covered the cork with pieces of acrylic glazing and added the clamps. The acrylic glaze does not stick to any oozing glue, helps apply even pressure and allows a clear view of what’s going on. (Thanks to my husband, Jon, for that tip). When the glue is dry, the acrylic glazing is removed and the excess cork paper can be cut away with a mat knife.

Ultimately, the patching on the table top was not covered well by the silver paint, so back to the drawing board. I sanded it heavily and brush painted it with semi gloss bronze paint. I like the way the bronze reinforces the hint of warmth from the brown cork that peaks out from under the silver wash.

Before

After

Papers Used: Italian Marbled – Brown Freeform, Chiyogami - 533C, Chiyogami - 467C, Crepaldi Bookbinder’s Marble – Tan and Blue French Curl, Gilded Cork – Gold, Plaids & Weaves – Tiny Plaid in Black on Tan, & Exotic Finishes – Gold & Black Snake Skin

The geometric design and slightly rustic texture of the paper reminded me so much of the Amate Weave Paper.

So all I needed was a sheet of Amate Weave in Marble, Mulberry & Jute in Gray, & an Ikea Ribba frame.

The results…

I really love the smokey blue color of the Mulberry & Jute paper and how it contrasts with the warmer tones of the Amate. If you are going for the overall neutral effect of the West Elm version you could swap it out for a more taupe or cream paper.

The best part, the whole thing (including the frame) cost under $31 compared to the nearly $200 West Elm version.

We both really didn’t like the “insert your photo here” style but after taking out the matte and adding a sheet of Smock’s Veranda Paper (a 10 second job) I think it looks down right pretty.

Because the paper is under glass it’s completely protected & can be easily swapped out for a new style. Considering how often Sara has a new favorite paper I think that is going to be quite often.

Well back in 2003 when we first started Paper Mojo I was introduced to washi eggs and it was love at first sight. While some may just think of them as seasonal, these eggs sit by my desk year round.

Here’s a great little tutorial if you want to have little fun with washi. And if you really want to get serious this book was what originally got me going. It has some useful tips on how to make the perfect washi egg along with some other great projects.

Best thing about washi eggs…no hot vinegar smell

After cutting about a dozen 3″ squares of Ajisai Hydrangea paper I started with the basic shape of the dogwood blossom. Instead of drawing little lines in the center I cut tiny notches off the sided while the blossom was still folded similar to the cherry blossom tutorial. My ending flower may not be totally accurate, half dogwood half cherry, but I love the results.

Add a scavenged branch and a little zip dry and I’ve got a new spring centerpiece for my dining table.

…and this is my target.

A flower print bought at ikea. It’s an okay photo but it was time for a change. I snagged a scrap of our Basketweave in Olive to fit the frame and a small vintage photo.

About 30 seconds later

And while I wish I could say my favorite part was the paper, it is in fact the small photo of my father in the center.

Isn’t he handsome?