Art in Progress
Cut-paper art enhances the narrative in feature story
by Sherri Kimmel

Choosing the best visual strategy to advance a particular feature’s storytelling arc is one of the greatest joys — and challenges — for a magazine editor. At Bucknell Magazine, we’re fortunate to have a talented consulting art director, Lauren Sanders, who helps us bring our stories to life. For our fall feature “COVID in the Coal Mine,” we sought conceptual art that could visually relate the complicated tale of the American health system’s struggles during the pandemic in a way photos of those interviewed would never allow. Lauren suggested a type of art with which we were unfamiliar — cut-paper art. Helen Musselwhite, a paper artist who lives in Wales, was our choice for our maiden voyage into papercut land.

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Helen provided a visual description of her process for our opening art. Note that we asked her to change her original color palette and also add a denomination to the bills to make it clear that they represent currency, highlighting the expenses related to COVID.
On her website, helenmusselwhite.com, the artist explains her process: “I start with thumbnail sketches in proportion, then choose a few to enlarge so I can work in details and form layers. Then they are drawn onto tracing paper, and the layers color coded. Sometimes I make up paper roughs. If times are tight, I go straight into the final piece, making all of the elements and laying them out as I cut. I take a lot of process photos so my client can see how it’s coming together. At this stage, revisions can be made before everything is glued into place.”

The images below portray the progress of the three pieces of paper art we commissioned — a full-page opening to the feature and two smaller spot-art pieces.

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The finished opening art. Note that Helen gave us several options for the background color. We felt the dark teal popped the most and best displayed the definition in the paper art.
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A bill in construction in Helen’s studio.
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Helen showed us a sketch of one of the spot-art pieces before commencing.
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Spot art in construction in Helen’s studio.
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Detail of the finished spot art. As Helen progressed from sketch to final, she changed the appearance of this central figure.
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Helen showed us a sketch for the other spot art.
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A bill in construction in Helen’s studio.
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The finished opening art. Note that Helen gave us several options for the background color. We felt the dark teal popped the most and best displayed the definition in the paper art.
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Helen showed us a sketch of one of the spot-art pieces before commencing.
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Spot art in construction in Helen’s studio.
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Helen showed us a sketch for the other spot art.
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Detail of the finished spot art. As Helen progressed from sketch to final, she changed the appearance of this central figure.