Behind the Scenes

Workshop: The Pineapple Chef 660 1024 Mathilde Habert
Interview_Impression_Originale_thepineapplechef_Journal_Photo qui a tout changé

Workshop: The Pineapple Chef

<>Stylist & food photographer
A yummi job

Nice to meet you Elise. Who are you?

My name is Elise and I have been a stylist and food photographer for 6 years now. I’m also a visual merchandiser so I am passionate about images and visual details.

I started my blog because of food intolerances as I wanted to share my knowledge and since then, never stopped photographing my dishes, the ingredients and everything linked to a culinary experience.

I am a huge fan of our national savoir-faire, authentic, seasonal and high-quality products.

So you have 2 jobs?

Yes, you can say that. I’m still a visual merchandiser for luxury maisons and I keep on running after time to fulfill those two lives. I’m in charge of product scenography in boutiques and windows, of window concepts as well as in-store scent, plants and flowers, music…

The link with food styling and photography is quite obvious: I use the same rules of display and color presentation on a large scale (for ready to wear and leather goods) and adapt those to a smaller scale.

What is the most photogenic food?

Meet Elise


Aka the Pineapplechef

“Right now, I am focusing all my energy on culinary art.”


Red berries are incredibly easy to shoot. Because of their textures, colors and small sizes.


Macarons are also great thanks to their colors and geometrical shapes.


Can you tell us how you go about a photoshoot?

Preparation is key. I always start from a brief whether I work with a client or on a project with other photographers.

I search for inspiration around that brief then I draw (ugly) sketches on a notebook to have my guideline.

As I have been this visual merchandising job for more than 15 years now, I quickly have the image of the final rendering in my head. I can of course change my mind during the shooting and come up with a better idea (sometimes, so great pictures happen by accident!), but the idea of the shoot is already clear in my head.

Then, I look for great props like the proper background, plates etc…which suit my idea and off I go !

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You make food look like art: how do you see it?

The more I shoot, the more I am in awe with the ingredients beauty. Colors and textures. More than a nice picture or a good recipe, I want to tell a story and the palette of emotions that food can bring.

I want to talk about traditions, forgotten ingredients and traditions, food stories from far away like stories from my country where we have such a precious and unrivaled savoir faire.

And for a while now, I have been quite obsessed with flowers and greenery which goes so well with food.


Where does inspiration come from?

Everything can serve as an inspiration. Instagram, Pinterest but also a great exhibition or a book or even a market visit. One magnificent ingredient can be the starting point of everything.

A good picture to me is the one which ‘tells a story’, whether it was a completely staged or ‘in the moment’.

For a portrait (like the ones I shoot with the pastry chefs for example), a successful pic is when you can see his/ her goodness, his/her craziness… his/her soul!

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How different is it to shoot paper and ribbons from food?

To shoot wrapping paper is no different: the subject changes but the mix of textures, sizes, objet set up and focus, the light, the attention to details are the same.

The challenge was to make it even more beautiful than it was and not have the decor be too overwhelming.

The product needs to be the ‘hero’, the decor is here to emphasize it.



Elise has agreed to a collaboration with us, at Impression Originale, to shoot her own interpretation of the 4 seasons with our gift wraps.


Impression Originale gifts and sublime flowers bouquet on black background






A balance diet is at the center of your work. So, surprise us, what is on the menu tonight?

A simple, healthy, authentic and seasonal cuisine. Less processed food.

Use our good common sense by buying simple products to make a good soup instead of buying one (cheaper too). I work non-stop and I am a mummy too with dinners to prepare and yet I manage to do ok: all you need is some organization.

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Your favorite indulgence?

‘Leccese’ coffee that I’ve discovered this summer in Puglia in Italy : coffee served with an almond syrup, ice cubes and some lemon zest.

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Your favorite food - ever?

The question is too hard, I love so many things like risotto, pasta, parmigiano, crackers, cantaloupe, apricots, cherries, granola…

Make a wish

Save the bees ! Whithout them, we won’t be here for long.

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For culinary art, without a doubt, my muse is Donna Hay.




the-pineapple-chef-home-2_logo IMPRESSION ORIGINALE


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Workshop: Pippa Dyrlaga 1024 886 Mathilde Habert
Impression Originale interview with Pippa holding a cherry blossom paper cut out

Workshop: Pippa Dyrlaga

<>Paper Wonders
made in Yorkshire
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Nice to meet you Pippa. Tell us a little bit about you.

I am an artist based in Yorkshire, England.

I use single sheets of paper to create contemporary artworks using traditional paper cutting techniques. My work is inspired by nature and the things I encounter around me.

I first started paper cutting in around 2009/2010 whilst I was studying and fell in love with the simple medium I have worked with since.

Meet Pippa

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Hi there!

“My dream world: calm and colourful “

The Commission of my Dreams

“I would love to do a huge tapestry style piece filled with all the beautiful natural things in the world.”

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What are you exactly?

I refer to myself as an artist. Most of the time a paper artist, but also as a printmaker.

I think I have always thought of my work as being in a different world though. To me they all have life and movement and exist somewhere. I am simply trying to capture a frozen moment of that.

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Where is home?

I moved to Hebden in 2014, after living in the City of Leeds.

I am from Mirfield, originally (the same place Patrick Stewart is from!) Its is close by so I already knew it, but after getting disillusioned with life in a city, the draw of a beautiful place with a well know creative community was really inviting for me. I love it here.

I work from home and sit next to a window with a beautiful view of the valley, and my dog at my feet. I couldn’t ask for anything better than that.

Getting up early is the secret

My typical day can vary, but mainly consists of being in my studio working on current projects. It is quite labour intensive with long periods of sitting at my desk, so I try and break the day up with admin tasks and other bits and bobs!

I get up early, and so my work day starts at around 8am, and can sometimes go until 10pm (with breaks of course!) I am lucky that I get to do something I enjoy so much so it’s as much a pleasure for me as it is work.

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WINDOW HANGINGS PAPER CUT [Commission], Pippa Dyrlaga.


What is your relationship to paper?

At first, paper was just a material to get what I needed done. Then it became quite a good choice because of the availability of the material as I was studying at the time. After a short while, I started to appreciate the material itself, its simplicity and varied types. Now it’s something I really love. I am a paper nerd. I love how different it can be and love to experiment with different types.

I recently started looking into more sustainable papers, and came across Japanese washi papers, which are both light as a feather and strong and I love working with it. It’s such a simple, every day material, but what it’s used for can both be thrown away and revered, it’s interwoven into history. I could go on and on.


If I say ``paper``, what first comes to your mind?

Half finished pieces of work laying out on my desk, stacks of clean fresh paper waiting to be turned into something, handwritten notes and stacks of books. So more of a place filled with paper!

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HEART OF SPRING, Pippa Dyrlaga.


What do you see, hear and smell?

The window is right next to the left hand side of my desk and outside is a lovely view of the valley I live in, and lots of trees. There are always lots of birds around and faint noises from the town. I usually have some music playing in the background, something nice and calm!

I can also usually hear my dog snoring away by my feet somewhere.

My favourite smell is in the winter, when the town has a lingering smell of wood burning stoves in the air, I wish I could sit with my window open!

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IN MY OFFICE, Pippa Dyrlaga.


Tell us about a commission that was really special to you

It wasn’t technically a commission, but I worked with a local gallery to produce an original and edition of prints to fundraise following the terrorist attack in Manchester last year. We sold them all and raised a nice sum for a local charity that works with children, and were working with the kids and families that were directly and indirectly affected by the events.

It’s almost exactly a year ago now so it is nice to look back and think that I made even a small amount of difference.


Walk us through the artwork you developped with us

Step #1

So I chose the paper from Impression Originale Collection “On the Bird’s wing” for my piece. The first thing I did was to research the artist, Eugène Séguy, that the paper was inspired by!

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Step #2

After this, I have to select the paper I will use. I chose my favourite paper to work on, which is a 36gsm washi paper from Japan. It is so incredibly light and thin but very strong and perfect for fine details.

The work is quite symmetrical with two birds touching beaks in the air, so I first drew a rough outline of the composition. This is always just a basic outline as I add detail in as I am working.

Step #3

Once the layout was decided, I cut out the most detailed sections first, so started with the wings. They are all slightly different. This can take a while and I cut out each feather individually.

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Impression_Originale_itw_Pippa_in progress tail detail

Step #4

Once the wings are completed, I move on to the tails. I added small details into the wings and body that are inspired by the random geometric shapes in the bird wings of the original design. Its very labour intensive, each piece is very small and can be less than a millimetre thick. I use an incredibly sharp blade, and change them frequently to keep the sharp tip I need.

Step #5

After all details have been cut out, its time to cut it free from the paper. This one will be very delicate as the two birds are only connected by the tips of their beaks, so it takes a lot of care and delicate handling once it is removed.

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If shapes and curves were emotions, which one would you be?

A circle. Emotions come and go, they are cyclical. You can’t have the same emotions all the time, but you will have them again. People aren’t meant to feel the same way all of the time.

Share a little secret...

I am 34 years old and I haven’t learnt to drive yet because it makes me so nervous!

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ON THE BIRD’S WING  [Collaboration with IMPRESSION ORIGINALE], Pippa Dyrlaga.

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Print Shop

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Workshop: Annyen Lam 1024 362 Mathilde Habert
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Workshop: Annyen Lam

<>Paper Lace
made in Canada
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Nice to meet you Annyen. Who are you?

I’m an artist currently living and working in the west end of Toronto.

Working across several different media platforms, my practice includes lithography, screenprinting, book arts, installation, and paper-cutting.

For the last few years I have focused more on the latter, completing projects that range from extremely small pieces to large-scale, layered paper works.

Meet Annyen

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“My ideal world: One with more compassion and justice. One where everyone has a voice. “

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What are you exactly?

I am an artist.

My practice has a few branches: creating and exhibiting original, one-off pieces (Including Tiny Blades Project), making multiples (prints), and then partnering with other small businesses to offer in-person workshops.

I started Tiny Blades Project by cutting something out of paper every day for 365 days. Initially running as a year-long endeavour, I’ve since cut over 760 pieces to date.

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``People build small towns wherever they go``

I was born and raised in Ottawa (roughly 550km away) and moved to Toronto at age 17 to attend OCAD University. For short periods of time I’ve also lived in New York and Hong Kong.

I heard a saying once: “people build small towns wherever they go”. I’m fortunate to have been able to travel, and have my own ways of making myself feel at home anywhere, but Toronto has a special place in my heart from the experiences that I’ve had here and the unique energy that the city embodies.

Home Portrait

I’ve recently had several clients approach me about making portraits of their homes. Each project was a lovely experience; for some clients I got to hear some history and personal stories with the house. I also got a sense of how much they loved their space. Now I pay even more attention to vernacular architecture when I’m out on my bike.

HOUSES – PAPER CUT [Originals], Annyen Lam.


Tell us how is your typical day going by

I’m most productive in the morning or evening, so I wake up as early as I can, work with something in the background (Netflix, podcasts, or streamers on Twitch), and then take some time the afternoon, when productivity wanes, to do other things (bike errands, work out, read). In the evening I’ll either teach or work with dinner in between.


Paper is central to your work, explain what is so special about it.

I also work with printmaking (lithography and screenprinting), draw, and make installations.

If we were to trace it back to my early childhood, I was a huge bookworm; I loved interacting with different book forms, which probably informed an early love for paper. I’d also go through popup books and try to figure out how it was put together.

Paper is seen as a humble medium; it’s been around for centuries and is found virtually everywhere. So there’s something magical about putting it under a slightly different light – in my case, cutting away at it, or exploring its sculptural possibilities – that underscores the fundamental strangeness of our everyday objects and surroundings.


What do you see, hear and smell?

A giant pine tree. A few springs ago, baby birds were hatched and raised right in front of me so I got to see them (and their mother) all the time.

I hear the neighbour’s dog barking and the bell from the school around the corner.

I smell the tea from across my desk.

IO_Studio Annyen Lam

Step #1

The tools of paper-cutting are relatively simple: a cutting mat, a variety of papers, a good source of light, and of course a sharp knife. Some people work with tiny scissors instead of a knife, so I’d suggest experimenting with different tools until you can find something that you’re actually comfortable with using.

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Step #2

My pieces almost always start with a drawing on a separate sketchbook. This process helps me visualize the end result and also troubleshoot areas that I might find tricky to cut.

Step #3

In terms transferring this drawing onto your “good” paper: if you’re just starting out, you can always draw on the back of your paper and follow the lines as you cut. You can also tape your drawing directly on top of your paper and cut through both sheets at once. What I do, however, is burnish my drawing onto the paper (I use a ballpoint pen with no ink). I’ll see indentations on the paper surface, which I use as a rough guide while cutting.

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Step #4

Generally speaking, you’ll want to cut out the smaller, more finicky details first, because the paper will get more and more vulnerable as you go. I cut out the perimeter of the piece last!


If shapes and curves were emotions, which one would you be?

An equilateral triangle.

Share a little secret...

I enjoy the thrill of heights. My first bungee jump was 233 metres (765 feet). It definitely brings you into the present moment!

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How to: a Commission for Musée Rodin 1024 362 Mathilde Habert
Interview Interview Originale Emily Isabella Rodin

How to: a Commission for Musée Rodin

<>Behind the scenes
from the artist's perspective

Nice to meet you Emily. Who are you?

I’m an artist living in the countryside, north of New York City.

I’m in the process of building a three story studio with my husband, Paul Isabella, on our 15 acres. We like to collaborate on projects, small ones like building wooden miniatures to big ones like building our studio!

In my freetime, I like to play the ukulele (although, I’m not very good), cook with friends and hunt for treasures at flea markets. No I don’t speak French but I’m always trying to learn a little bit here and there. One of my best friends lives outside of Paris so I travel to France about once a year and the more I visit, the better my French becomes.

Meet Emily

About me

“I studied textile design and currently design and illustrate for a number of different applications like books, fabric, wallpaper, clothing, packaging, rugs, upholstery, toys and paper goods.”

My ideal world

“A world without fear.”

Impression Originale emilyi sabella beginning pattern
Impression Originale emily isabella painting
Impression Originale emily isabella studio wall
Impression Originale emily isabella sketchbook

Present us your typical day. Tell us what makes for you a day out of the ordinary.

I usually get up, make coffee and a simple breakfast and I work all day.

My work is very enjoyable so this isn’t a bad thing for me. In the evenings, I go for a jog, cook dinner, play music and read or maybe watch a movie. The last movie I watched was Blow Up directed by Michelangelo Antonioni – so good. I have ideas for some illustrations based on stills from the film.

Sometimes I leave the house to visit friends, or go to a ballet class – those are the days that are out of the ordinary. I have a hard time leaving my work sometimes.


We live at the base of the Catskill Mountains. My window looks out into the forest. There are trees outside my house that little birds really love. Hundreds of them nest in the trees right there and it sounds like something out of a fairytale.

It smells good here!

Right now I’m burning cedar incense so it smells like I’m in a little indoor forest.


Impression Originale commissioned you to work on a project with the Musée Rodin in Paris.

How did you go about this commission?

For me, a soft pencil captures the best of my ideas. Once I am ready to solidify the ideas, I typically use gouache. The Musée Rodin wanted the sculptures to be accurately represented but still very stylized. I think layering linework over graphic shapes helped bring that request to life.

I haven’t visited the museum. Last time I was in Paris is was next on our list but we didn’t make it there so on my next trip it will definitely be at the top. I love the softness of Camille Claudel’s work. Although she was often compared to Rodin, she had her own voice. She did have a sad story – I’m sure it was hard to receive recognition as a female artist back then.

Gift Pocket Musée Rodin Commission Impression Originale

SURPRISE GIFT BAG [Original Design Emily Isabella for Impression Originale], distributed by Musée Rodin in Paris.


You are American.

Can you tell us what France represents to you – artistically speaking?

In a way, I feel most at home in France.

I spent a semester abroad in Provence when I was 21 and those days are some of my most cherished. I think I really found my artistic voice in France and things clicked for me there. My favorite art lives in the Museé d’Orsay. Vuillard is my favorite artist and Toulouse Lautrec is a close second. There is a room on the first floor that houses two of my favorite pieces by these artists and I wish I could live there.


How would you like to be called (referred to) as a professional?

“I just make things because I have a compulsive need to create.”


I guess the easy way to describe my profession is “artist”. I am always exploring new mediums and applications for my work. I consider myself a designer but also an illustrator. Somedays I do more textile design than illustration and other days it’s the opposite. But mainly, I just make things because I have a compulsive need to create.


Tell us about other special commissions

I recently designed a tea set for kids! I loved that sort of thing when I was little so it was exciting to think about how my childhood self would have been so excited.

A Stranger's Coat

A stranger asked me to paint her coat. It was such a pretty coat, I was happy to do it!


Trinket Boxes

I designed these trinket boxes for Anthropologie.

Oh Jane

I saw Jane Birkin sing at Carnegie Hall. It was a very special night so I made sure to bring my sketchbook.


Kate Spade!

This artwork was done for Kate Spade.

Everyone Loves New York

This illustration of the Met in NYC was done for a book called Everyone Loves New York.


If colours and brushes were emotions, which one(s) would you be?

Content blushy rose, snappy vermillion, and a fresh smalt blue – I’m a smaller brush – squirrel hair size 2.

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It’s a secret: Emily likes to eat gummy bears in the winter – but only few each day.



Her Bio



Interview: Meet the Founders of IMPRESSION ORIGINALE 1024 720 Mathilde Habert

Interview: Meet the Founders of IMPRESSION ORIGINALE

<>Meet the Founders
Impression Originale wraps

IDEALIST: We love the original, colourful, and creative world of Impression Originale, can you tell us how it began?

I was inspired to approach the art of wrapping gifts in a novel and creative way, founded in ethical sustainability.

Claire and I give priority to creativity and we have no limits so, like most businesses, we had an idea and we’re growing with it.

Creative Beginnings


Welcome to our world!

With the aim to make a lasting impression, Mathilde Habert and Claire Commeau founded Impression Originale, offering exclusive luxury wrapping paper and couture bows and ribbons. A year on, with stockists such as the Conran Shop, Harvey Nichols, Château de Versailles and Paris department store Le Bon Marché, Mathilde tells us more.


IDEALIST: For someone new to your brand how would you best describe it?

What do you remember when you receive a gift?

For us it’s the emotion that you feel, the hidden message within in the gift, the time and care it beholds. We believe that true luxury is the attention to detail and the unique emotion you experience, which will stay with you long after the gift is gone. Our aim is to rethink the art of giving with our beautiful products.

Being Friendly with the Environment

IDEALIST: Can you explain your commitment to the environment and the art community.

Our business is built on good ethics with all products responsibly made in France using 100% recycled paper. Caring for the environment is about the different decisions we make everyday, such as where we source our paper and what kind of supplies we work with. We left nothing to chance. In parallel, we decided to give a crafty touch to our business, going back to a local approach in production whilst always keeping our eyes open for new inspirations and artists.


“we offer original designs, printed on 100% recycled paper made in France in a sustainable and ethical manner.”



We’d love to know your process of finding and collaborating with artists.

You would be surprised, the process is actually quite ad hoc. We select the artist by “coup de coeur” (roughly love at first sight for the designs), whether we like the style, the spirit or a particular design. We usually approach the artist (or get approached by artists) and if a specific design matches our collective artistic orientation, we agree to work on an original design. We work with the artist to best format it for our wrapping format and technical specifications and they sign each design. It’s a fun and very creative process.

100% Recycled I Ethical I Original Designs

IDEALIST: What sets your products apart form other gift wrap?

“Daring to be different”

170617_003_photo Benoit Martin

In a nutshell we would say that we offer original designs, printed on 100% recycled paper made in France in a sustainable and ethical manner.

Our wraps are on XL sheets, which are substantially larger than the current standard in the industry. We also use a mechanical printing process, which gives very deep and colourful prints and makes this glossy aspect. Each wrap is doubled-side printed with a grid to make sure you get this perfect cut and we suggest matching ready-to-use ribbons and bows to compliment each design wrap.

We also ask our designers to sign their artworks which we think is quite unique in the wrapping paper world. Our inspiration came from artists signing their artwork when they create luxury pieces such as a scarf for Hermès (Claire is coming from textile design so that explains a lot!). It’s a nice way to recognise the unique artistry that goes into each work.


IDEALIST: Are you able to tell us about any bespoke projects you have worked on?

With the Musée Rodin in Paris we have been asked to work on a surprise project. We have chosen one of our collaborative artists to develop a bespoke design based on the beautiful statues of Auguste Rodin and gave it a modern twist.

We feel very lucky to be able to work with these beautiful names and very inspiring places. We have also an on-going bespoke project with the Château de Versailles, where we have developed some commissioned designs based on the castle’s iconography. The designs are gorgeous and we cannot wait to see the final results in their boutiques next year!

From Seedling to Flowering

IDEALIST: How your business has grown?

We are just about a year old and are happy to see that our products have been well received as we are not only selling design wraps, we have a philosophy behind it, and I believe this makes the difference in our clients’ eyes. Our current stockists are: the Conran Shop, the Centre Pompidou, the Bon Marché, Harvey Nichols and we’d love to add other boutiques and museums to our list.

Atelier Cadeau Créateur Impression Originale
Workshop: Sarah Matthews 1024 362 Mathilde Habert

Workshop: Sarah Matthews

<>Paper Engineer
made in the UK

Nice to meet you Sarah. Who are you?

‘Paper Engineer’ would have been my dream job as a child, had I known of its existence.

Well, it would have been a close second after professional Ballerina anyway. I have been a maker for as long as I can remember, from my earliest memories folding origami penguins and cutting paper doll chains, to graduating from my Textile Surface Design Degree in 2011 with a graduate collection of paper jewellery, to now spending my days buried under paper in my studio in Nottingham, cutting, folding, gluing and interlocking to create innovative and playful paper designs.

Meet Sarah

About me

“I am a design-enthusiast, sucker for good packaging design and self-proclaimed perfectionist, who loves to explore, wear stripes and nest when not in the studio.”

Interview_SarahMatthews_Giant Rose_IMPRESSIONORIGINALE
FROM 2D to 3D

How do you call what you do, as a professional?

When I’m asked what my job is, I say “Paper Engineer”. To me, this simply means a designer who transforms paper from 2D to 3D, by creating sculptures or pop-up mechanisms. Having said that, I would also describe myself as a papercut designer, as a significant amount of my work is also two dimensional, layered papercuts.

I design these papercuts on Illustrator, and send them to my plotter to cut (a machine similar to a laser cutter, but with a blade rather than a laser), before finishing the detailed cutting by hand with a scalpel as unfortunately my machine isn’t perfect and I always need to ‘tidy up’ the detail by hand.




Tell us how is your typical day going by.

What are the extraordinary things happening?

I was born in Sheffield but lived in London for the majority of my adult life so far, before moving to Nottingham last year. When I lived in London I was working full time in the product development department of a jewellery company, and doing my own work on the side. I had always wanted to try and do my own work full time but completely lacked the self-belief to take the plunge and go for it. When I lost my job due to my employer’s financial issues, I decided to take it as the push I needed to try and turn my ‘side-hustle’ into a full time job. As London is a really expensive place to live, I decided to move to Nottingham, where my mum lives, to save some money while I was taking the first steps to build up my business, which is why I’m here at the moment.

To be honest, I am so busy with work at the moment, and earlier this year I managed to buy my first home, which is in Sheffield, and all of my spare time is being spent working on the new house as I am renovating it before I move in, which is so exciting, but the downside is that I haven’t been able to get out and make the most of what’s going on in Nottingham while I’m here.

I can’t wait to move to Sheffield – hopefully it will be very soon now! I love Sheffield, it is where I was born, and is so vibrant, with loads of lovely independent shops, cafes and restaurants, and so much gorgeous green space.


PAPER SCULPTURES “Rooster” and the “Lobster hat” [Originals]


What is it like to be in your studio?

I like to listen to music while I work, particularly anything I can sing along to, and which makes me want to dance… My musical (not so) guilty pleasure is late nineties/early noughties hip hop and R&B. Sometimes it can get a little lonely being self-employed, so if the loneliness is getting to me I like to have films/TV on in the background so I am listening to people talk… I think in a strange way this makes me feel less like I am on my own.

I like to have a scented candle or diffuser out to make my working space feel calm, but nothing too strong as they can give me a headache! My favourites are fresh, herbal scents and I find Anthropologie is great place to find them.

Sadly I don’t have a little companion of my own yet, but I always had pets growing up and can’t wait to get a dog in the future. I’m obsessed with maltipoos and chow chows and am a total sucker for fluff. I follow so many dogs on instagram!


Paper is central to your work, can you explain why you choose this medium.

I studied Textile Surface Design at Buckinghamshire New University, but decided during my degree that I didn’t really enjoy the fabric ‘end result’ of my projects as much as I enjoyed the ‘paper-based’ sketchbook and paper maquette stage of my projects. Fortunately we were quite free to do what we wanted, so I ended up making a collection of printed and folded paper jewellery for my final collection. After graduating, I continued to experiment with paper as a hobby, but it has since turned into my full time job!

“I love paper: it is the most readily available, affordable and versatile material, with limitless possibilities.”


Present us your “copyright” creation. The one you are most proud of.

He took a really long time to make, but I was really happy with how he turned out!

I think I am most proud of the paper flamingo I made for GF Smith. I was challenged to pick my favourite colour and make something in that colour using their lovely papers. I chose pink and used it as an opportunity to make a flamingo which was something I had wanted to do for a while.


Now, close your eyes and tell us how an ideal world looks like to you.

Full of colour and happiness, and the perfect balance of nature and design.


Walk us through one of your artworks you developed in collaboration with us!

First, I designed the shapes on Illustrator, before sending them to my plotter to cut out. I cut the teepee shape out of both wrapping paper and normal paper, so I could back the wrapping paper with the normal paper to add strength. I then glued the wrapping paper to the normal paper, and scored where I would need to fold.

I then folded along all of the score lines. I then added some gold paper behind the door. I trimmed down the bamboo sticks to size and threaded them through the cuts in the paper, then lifted up each side of the tent to check they met perfectly at the top.

I then tied some beads and feathers to the top of the front face, and finally tied the four bamboo sticks together at the top.

Step #1


Step #2

Step #3


Step #4


If shapes and curves were emotions, which one would you be?

That is such a hard question! Visually, I love angular, geometric shapes, but I think if my personality was a shape it would be much softer, but still symmetrical, so perhaps a circle… I would describe myself as soft, patient, compassionate and a bit of a perfectionist, so I think ‘soft but symmetrical’ sums me up pretty well.

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“I have already picked out my future dog’s name – ‘Crayon’! People seem to either think it’s the cutest name or the most ridiculous name!”


miniatures contact Sarah Matthews




Interview_SarahMatthews_Bright Geometric Shapes_IMPRESSIONORIGINALE
3D Modeling: Surgeon Paper 1024 359 Mathilde Habert

3D Modeling: Surgeon Paper

<>3D Modeling
made in France
Interview IMPRESSION ORIGINALE Surgeon Paper Lapin_tête_2

Nice to meet you Surgeon Paper (Remi). Who are you?

I have always been attracted to manual activities. As a child, I was very curious, I spent a lot of my free time dismantling and putting it back together electronic devices. I like to understand how things work, it has caused me some accidents of course, such as when I planted a hairpin in an electrical outlet, or when I put my hand flat on a hot plate … to check if it was really hot. It was.

I always kept a creative side hobby on top of my countless jobs. I made stop-motion movies with paper objects or with pretty much everything that fell under my hand (www.vimeo.com/charetteprod). I participated in the realization of advertisements using this technique.

Meet Remi

Bonjour !

“For a little over a year, I am 100% working on paper sculptures, based on computer modelisation.

I sell online my “animals” and other artworks (see link below).

I am open for commissions for window décor, or private orders.”

Interview - Surgeon Paper Lapin_camouflage_vaguebleue_LD

MISTER RABIT AND A BOW [Originals by Surgeon Paper], using IMPRESSION ORIGINALE “Océan de Vagues” wrap.


The use of specialised software is key. Can you explain what is the role of the computer in your creation?

The first time I saw a paper sculpture in this style, I immediately wanted to try. I was already working with paper, glue, cutters; The first time, I used a deer modelised model I found online. I was a success.

I really liked the result and so I deepened the subject and learned more looking at online tutorials to be able to master all the stages of creation, and eventually, create my own models.

Interview IMPRESSION ORIGINALE Surgeon Paper Déluge de coeur lapin cadeau

MISTER RABIT AND A GIFT [Originals by Surgeon Paper], using IMPRESSION ORIGINALE  “Déluge de Coeurs” wrap.


Where is your mind when you give life to your artworks?

It takes too much focus for me to be able to think of anything other than what I am doing!

It is usually when my mind begins to escape that I make mistakes, this is usually the moment I choose to take a break.

Interview IMPRESSION ORIGINALE Surgeon Paper Duo lapin

THE THREE LITTLE RABITS [Originals by Surgeon Paper], Using IMPRESSION ORIGINALE wraps.

Interview IMPRESSION ORIGINALE Surgeon Paper tete lapin deluge coeur main
Interview IMPRESSION ORIGINALE Surgeon Paper 3 lapins main

What do you see from your window in Marseilles?

Being in a period of professional transition, I constantly move.

Right now, I see trees, the skyline of Marseilles, and Notre Dame de la Garde in the background. The top three quarters of the view are filled with a beautiful blue sky most of the time.

Marseille is a little French California … except for high technology and movie stars.


What is your favorite artwork? Explain to us why.

“…but it is impossible… it is like choosing your favorite child!”

SurgeonPaper1 Interview IMPRESSION ORIGINALE

THE PANTHERE [Originals by Surgeon Paper].

As you can see on my Instagram feed, the little rabbit is a central piece. I had to go through a lot of prototypes and I’m really pleased with the result I got and how poeple receive it.

However I would say that my favorite creation is the bear … or the wolf … or else … in fact I love them all, it’s a bit like choosing between your children what you ask me!


What do you need to feel most creative?

I work a lot based on raw emotions: anything can be a trigger for a desire to create. This can be music, text, a landscape, or the work of another artist …

My sources of inspiration are unlimited and often unexpected, but they all have a common implication of the senses, mostly the sight, but the hearing and the touch are also playing a big part.


Explain to us, step by step how you bring life to your rabbit!

The first step is 3D modeling. It all happens on computer: I use the Blender software. Creating an object in volume on a flat screen requires good vision in space, and a certain capacity for abstract thinking.

When I am satisfied with the 3D object, I use another software to virtually “unfold” it: Pepakura. This makes it possible to obtain a printable pattern, and to arrange the various facets to optimize the feasibility of the next step: the assembly.

The next step is printing the pattern. Then the object transitions from the virtual world to reality … But, there is still much to do: cut out each piece, fold it and paste it one by one in order to reconstitute the object in volume.

Et voilà 😉

Interview IMPRESSION ORIGINALE Surgeon Paper Lapin_tête_campanuleslilli
Interview IMPRESSION ORIGINALE Surgeon Paper Lapin_tête_campanuleslilli 2
Interview IMPRESSION ORIGINALE Surgeon Paper Lapin_tête_campanuleslilli 3
Interview IMPRESSION ORIGINALE Surgeon Paper Lapin_tête_campanuleslilli 4

MRS RABBIT [Originals by Surgeon Paper], Using IMPRESSION ORIGINALE “Campanules Lilliputiennes” wrap.

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SurgeonPaper3 Interview IMPRESSION ORIGINALE


SurgeonPaper2 Interview IMPRESSION ORIGINALE


SurgeonPaper1 Interview IMPRESSION ORIGINALE
Workshop: Eva Magill-Oliver 1024 355 Mathilde Habert
Eva Magill-Oliver Interview IMPRESSION ORIGINALE

Workshop: Eva Magill-Oliver

<>Arty Notebooks
made in the USA
Eva Magill_Oliver Interview IMPRESSION ORIGINALE

Nice to meet you Eva. Who are you?

I’m a mixed visual artist.

I have always worked in and around the art field since I graduated from college, but have put all of my energy over the past 4-5 years into developing and growing my business as an independent artist, focusing my attention on large scale abstracts and graphic nature-inspired paper drawings and collages.

Meet Eva


“My strongest wish is for the health and happiness of my family and friends. I always wish much success to all artists that are out there trying to inspire, create, and make their voice heard.”

Eva Magill-Oliver Interview IMPRESSION ORIGINALE
Eva Magill-Oliver Interview IMPRESSION ORIGINALE

Tell us about your expatriation in France. What do you miss most of all?

In 2007, I moved to Paris to join my fiancé who was pursuing his MBA at HEC Paris. I left quite happily to live with him in anticipation of a new life and new adventures. Hardly knowing the French language at all, things in the beginning were quite challenging to say the least.

In time though, things fell into place. I studied the language, made new friends, and soaked in as much of the French culture as I could. I miss everything from those times, but certain things I miss the most are – first and foremost, les brocantes. I adored how every weekend in a new “quartier”, I could peruse all of the beautiful objects from linens to antiques to artwork. A close second are the museums. Being able to take the metro to view beautiful, historic works of art and then be back at my apartment in the space of a few hours was like being in a dream. People in large cities should never take this opportunity for granted.

Being a vegan in Paris, I also miss one of my favourite “restos” in the 4eme, Le Potager Du Marais near Le Centre Pompidou.


The “notebooks” are key to your work, can you explain why you

choose this medium. Is it an artwork in itself / or a means to an end?

Keeping sketchbooks and journals has always been a regular practice of mine. I love the tangible aspect of sketchbooks and books in general. I think it is important for an artist to keep one in an effort to record ideas and inspirational imagery that can often be fleeting. The art and usage of the sketchbook has evolved a bit for me over the past year or so, but quite naturally. Doing these sketchbook “assemblages” incorporates my love of design, art, and photography, while at the same time highlighting texture, pattern, shape, and line.

I also have been interested and encouraged to continue to do the sketchbooks because I believe they represent the true soul of an artist. They are not polished or framed or residing in an elegant home – they are simple, humble, and sincere. All qualities I hope to express and emulate myself.

Eva Magill_Oliver Interview IMPRESSION ORIGINALE
Eva Magill-Oliver Interview IMPRESSION ORIGINALE



You are currently living in Alpharetta,

what is happening there?

My family and I moved to Atlanta last Summer from Asheville, NC. The move was bittersweet for me. I knew I would miss the beautiful mountains, landscapes, and certainly the great friends I had made there. But I also knew moving to a larger city would bring new opportunities for both me and my family.


We can’t help but notice your incredible tattoos. Can you tell us a story about one of them?

Ha! It’s funny actually, they have become so much a part of me and who I am that I forgot about them until someone brings them up.

Eva Magill_Oliver Interview IMPRESSION ORIGINALE

They all are very personal to me, and fairly private, but the last one I got is a simple mountain landscape. It represents Asheville, NC where I recently moved from. It was bittersweet as I truly loved the town and friends I made there in the three years that we lived there.

Now with the tattoo, I can always be reminded of the people, experiences, and memories of that special place.


An afternoon with Eva in her studio

Eva has agreed to work her magic on one of her notebook with IMPRESSION ORIGINALE design paper wrap. She has come up with an incredible and very personnal interpretation of the “A thousand and one Roses Wrap” from Monika Forsberg and “Optical Wave Wrap” from Matt Chase.

She lives in a fairly quiet and small neighbourhood, so from her studio you mainly hear birds and neighbourhood kids playing. Even though Eva loves music, she can’t seem to play it while painting. She prefers to be in her own mind and thoughts, which helps her to focus on the task at hand.

As far as smells, Eva loves coffee, so it smells that in addition to paints and other materials that surround her in the studio.

Step #1

Eva Magill-Oliver Interview IMPRESSION ORIGINALE
Eva Magill-Oliver Interview IMPRESSION ORIGINALE

Step #2

Step #3

Eva Magill-Oliver Interview IMPRESSION ORIGINALE
Eva Magill-Oliver Interview IMPRESSION ORIGINALE

Step #4

Step #5

Eva Magill-Oliver Interview IMPRESSION ORIGINALE
Eva Magill-Oliver Interview IMPRESSION ORIGINALE

Step #6


If colours were emotions, which one would you be?

Probably a deep blue – generally, blues remind me of the ocean that I grew up very close to on the coast of South Carolina. It brings a sense of calm, reflection, peacefulness, and quiet. All things that I strive to find in myself and in my daily life. I also love how dark colors stand strong on their own, yet highlight and enhance surrounding colors – the kind of relationship I would like to find with myself and those around me.

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Eva Magill-Oliver Interview IMPRESSION ORIGINALE


Eva Magill_Oliver portrait IMPRESSION ORIGINALE


Eva Magill_Oliver interview Impression originale
Workshop: Damien the leather Compagnion 1024 683 Mathilde Habert

Workshop: Damien the leather Compagnion

<>The passion of a Craftsman
Meet the Companion

Damien, how did you specialise in Leather?

As a child, I was day dreaming that later I will become a car designer… So I naturally sought for a a vocational training, which proposed practical teachings. In France, the best training in this area is given by “les Compagnons du Devoir“.

I believe that the best way to learn in craftsmanship is to evolve slowly and see all the aspects of work. The vocational training with the Companions is exactly doing this. You learn step by step, in a process that lasts 7 years. In the first years of my training, I realised that I would get more opportunities working as a leather craftsman than as a car designer.

Thus, I started my « Tour de France » of the Companions in 1997. I was 20. The first city I headed to was Bordeaux, then I went to the United Kingdom, Italy, Belgium (with Delvaux), Switzerland, Morocco, then I came back to Paris for Louis Vuitton (design office and studio). I finished my “Tour” with Céline in London.

Damien, the leather wizard


The ``Compagnons du Devoir``

The Compagnons du devoir proposes a traineeship based on a vocational training which is divided in 3 steps: first you join as an ” Apprentice“, then once adopted by the companions Community you are upgraded to “Aspiring Companion” to carry on your vocational training. At the end of the traning, you are required to submit your “Masterwork” which is submitted to the approval of the Companions’ Board. If accepted, you get the title of  “Compagnon”.


How did you ``Tour`` shape you?

My “Tour” with the Compagnons du Devoir was extremely important for the young man I was. Despite its name “Tour de France”, I undertook most of my training abroad where I was lucky enough to meet wonderful professionals who greatly inspired me. I am still in touch with them today. I was 20 when I joined the Companons, which is very late. Usually, you join when you are 14. So I was more mature, I guess and more determined in learning to become as skilled as possible.

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What moves you?

Why do I like so much what I do? I think the most important thing is the smile of appreciation on my cliens’ face when they see what I have done. Inspiration can take many shapes. But I am most inspired by simple things. I rely on my wild imagination to give a twist to my creativity. For example, I can come up with a twisted swirl of leather, after looking at an ivy on a tree.


The 'Masterwork' is the final step of the Companion's training. What was yours?

My Masterwork was a travelling writing case. It was tan (camel colour), hand stitched with a white 12 strings threads, with crushed raspberries coloured Alcantra panels. On the outside, there were some yoks at the corners, stitched in white thread again. It looked like an old luxurious case, similarly to the ones Hermès did.


Tell us about one of your outstanding projects

The infamous Charlie Davidson approached me with an incredible project, he designed a unique seat and was looking for someone who could manufacture it. It is truly an impressive piece, it is a long seat shaped in a black leather corset on the outside and pink in the inside. The foot are in the shape of stilettos…  I was very happy to be able to give “life” to this beautiful seat.

I also participated in the interior design of some mega yacht and super yacht. We work on unique leather pieces, such as wall panels, flooring, staircases handrails or even buffalo leather bathroom walls…

I have also been asked to install some eel’s leather inside a chandelier. Oh! and yes… once I have been asked to cover the interior of gym bells with galuchat, which is the leather of a ray fin, one of the rarest leather in the world.

Charlie Davidson_Object of Desire

OBJECT OF DESIRE [Design Charlie Davidson].


How do give life to your artworks?

I usually start with sketches, which I validate with the Client. This preliminary phase can stretch a bit depending on the Client. I only start a project once my Client is fully content. I also validate the colours, the type of leather in this phase. Then, I will start what I call “the development”, which starts with a prototype. The prototype enables us to adjust the concept before I start working with the real material. It often have “carte blanche” and I skip the preliminary phase to start straight away on my vision…


What is your favorite colour (on leather)?

I prefer bright colours. Instinctively, I would go for blue… wait, no… I also like red, or green.

Thinking about it, I am not sure whether I care for the colours or on how the light awakes the colours. Without light, colours are still, boring. In my experience, most of the people will choose neutral colours on leather, either grey, black or white. I try to bring them to more lively colours or natural colours.

“In Notting Hill, in London,

I covered a desk with pistachio green leather

with a bright fuchsia leather in the inside.”

The workshop, the perfect cut, Damien leather Craftsman.


How does the gilding process work on leather?

  1. First, we sketch what we would like to be gilded. It is called a “stamp”
  2. We use this stamp on a hot press (around 120°c)
  3. We take the leather piece and position it under the press.
  4. Then, we press firmly for a couple of second on the leather, with a gold leaf in between
  5. Voilà!
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What makes a beautiful leather piece?

When I look at a beautiful piece of leather, all I see is the know-how it required. You can feel the passion, the time spent over it. You also understand the time and expertise it required… The French know-how in leather craftsmanship is an expression of a certain everyday sophistication.  The training with the Companions is quite extensive as it lasts 7 years. In France, we are very lucky to have such a craftsmanship inheritance. Of course, trends are mutating, but the level of requirements is transferred and it keeps diffusing in our modern days.


What is the most beautiful leather piece you have ever seen?

One of the most remarkable leather gem I have seen: a trapeze travelling back from 1900 in one piece of crocodile leather. It was a very long bag (90cm) with a doctor lock, in camel colour. This was incredible… and it was forgotten on a shelf in the Louis Vuitton mending workshop. When I saw it, I could not believe my eyes…

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ElleDecoration cover




Decipher Quadrichromia Printing Process 1024 435 Mathilde Habert
Impression Originale Quadrichromie

Decipher Quadrichromia Printing Process

<>Quadrichromia Printing Process
Behind the Scenes
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Back to Greece


Quadrichromia” emerged at the end of the 19th Century. The origin of the word is from the Latin root, quadri, which means “made of four” and from the Greek word, chromia, which means “color”. The technical foundations were laid in the 18th Century by Jacob Christoph Le Blon. The industrial process was adopted by the Press, which began to widely use the four-color process from 1880 onwards.

Impression Originale Quadrichromie noir
Impression Originale Quadrichromie cyan
Impression Originale Quadrichromie rouge
A qualitative Process

Quadrichromia: What is it?

The Quadrichromia printing process, more commonly referred as the CMYK color printing process, is based on four colours: the three primary colours:  blue (cyan or “C”), red (magenta or “M”) and yellow (“Y”). The colour black is used to reinforce the contrasts and to print the text and is reffered as key (“K”).

The four-color printing process allows to control the colour dosage and reproduce the desired colors with fine precision. The result is superior to a digital printing, since the ink is deposited in successive layers and is immediately dried at the outlet. This process gives a real depth to the colours and is considered of superior quality.

A step-by-step Process

Printing Process

In order to reproduce a coloured image on a printed page, it is necessary to decompose it into basic colors. Each color is printed successively on the paper, which is going through the different colours plates: red (magenta), yellow and blue (cyan). In order to match the original colours, during the printing process, a complementary color filter is used on each plate: purple filter to select the yellow, green filter to select the red, orange filter for the blue colour. The colours are printed one after the other, supperposing the layers of colours to render subtle nuances.

To restore to the eye an image identical to the original, the plates are printed by exact superposition with the inks: cyan, magenta and yellow. The black color is mainly used to strengthen the drawing and increase the intensities in the dark parts.

4 steps Quadrichromia impression originale
Primary Colours + Black

How do we achieve the perfect nuance?

With CMYK printing, halftoning (also called screening) allows for less than full saturation of the primary colors; tiny dots of each primary color are printed in a pattern small enough that human beings perceive a solid color. Magenta printed with a 20% halftone, for example, produces a pink color, because the eye perceives the tiny magenta dots on the large white paper as lighter and less saturated than the color of pure magenta ink. Based on the nuance of the desired colour, the ink is deposited in more or less dense sizes of dots.

Moreover, to improve print quality and reduce moiré patterns, the screen for each color is set at a different angle. When using a printing magnifier, we can distinguish the micro dots and the angles of each of the four color.

compte fil impression originale
A Cumbersome Process

The Technical Constraints

The first limit of the process of the CMYK Printing is a lack of flexibility in the sense that each print requires an incompressible preparation time especially for the etching of the four plates which will be used for printing. CMYK printing is therefore not suitable for small amounts of prints (less than 800 sheets).

The second limit is linked to the brightness of some colours. Although as mentioned, the color palette can be almost infinite, some colours may lack intensity. It is the case, for the colour orange, pink, red and for fluorescent colors that are not reproducible using the CMYK process. In this case, the use of standardized ink (PANTONE ©) is recommended for optimized results.

Petite leçon de Quadrichromie_nageuses_4couleurs
One step farther


Mark Gatter, Getting it right in Print / Digital Pre-press for graphic designers (online).

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