About the service
I start every order with a sketch and a module layout. Before a single sheet is folded I draw the window or the photo zone to scale, mark where the eye lands first and spread the volumes so the composition reads from three metres away and still holds up close. Paper is unforgiving about weight: 160-300 gsm keeps an edge and carries its own shape, while thin office stock sags within a day, curls at the corners and turns a crisp petal into a tired rag. Where a form has to stay razor sharp I score the fold lines first — creasing with a bone folder or a blunt scoring wheel breaks the fibre exactly where I want it, so the sheet bends on the line instead of cracking beside it.
Most of the assembly holds without glue. Tabs, slots and locking folds are stronger than they look and let me take a module apart after the event instead of binning it. Glue comes in only where honesty demands it: the seam of a large flower core, the inner ring of a heavy sphere, the point where a hanging module meets its frame. Big shapes get an internal skeleton of light wire or cardboard that carries the load, so the paper only has to carry itself. Everything hangs on non-flammable fishing line or thin steel cable fixed to a real structural point — a ceiling anchor, a beam, a truss — never to a lamp cable or a suspended ceiling tile.
Paper burns, and I say this to every client before the estimate. Decor is never mounted tight against spotlights, candles, heaters or hot glass; I keep a safe gap and route the pieces away from any heat source. Outdoors and in damp rooms paper does not live at all: it drinks moisture, loses tension and drops within a week, so for those spaces I will honestly recommend another material rather than take the money.
— sketch, scale layout and a module map agreed before the first cut
— paper weight chosen per element, colour matched to your decor palette
— scoring and precise folds, glue-free assembly wherever it holds
— volumetric flowers, cranes, polyhedra, spheres and cloud modules
— internal frame and safe suspension on non-flammable line or cable
— installation on site, dismantling and removal after the event
— rigid packing for transport, repair of dented and creased elements
— lead time 5-14 days, prepayment covers paper and materials
Most of the assembly holds without glue. Tabs, slots and locking folds are stronger than they look and let me take a module apart after the event instead of binning it. Glue comes in only where honesty demands it: the seam of a large flower core, the inner ring of a heavy sphere, the point where a hanging module meets its frame. Big shapes get an internal skeleton of light wire or cardboard that carries the load, so the paper only has to carry itself. Everything hangs on non-flammable fishing line or thin steel cable fixed to a real structural point — a ceiling anchor, a beam, a truss — never to a lamp cable or a suspended ceiling tile.
Paper burns, and I say this to every client before the estimate. Decor is never mounted tight against spotlights, candles, heaters or hot glass; I keep a safe gap and route the pieces away from any heat source. Outdoors and in damp rooms paper does not live at all: it drinks moisture, loses tension and drops within a week, so for those spaces I will honestly recommend another material rather than take the money.
— sketch, scale layout and a module map agreed before the first cut
— paper weight chosen per element, colour matched to your decor palette
— scoring and precise folds, glue-free assembly wherever it holds
— volumetric flowers, cranes, polyhedra, spheres and cloud modules
— internal frame and safe suspension on non-flammable line or cable
— installation on site, dismantling and removal after the event
— rigid packing for transport, repair of dented and creased elements
— lead time 5-14 days, prepayment covers paper and materials
