Here’s something slightly more challenging, a flower form. You’ll guess that some twisting is required and the crease that allows this has a defined and easily spotted location point. It’s also locked into shape. Out of interest, this “vital” crease can be altered to provide flowers that are more open.
Once you’ve identified the location for the shorter crease, you can use a template then reduce the length of the book folds to produce a neater CP. My mentor Wayne reckons this will work as a modular with a little tweaking, but I haven’t found a really stable form yet. Either that or I’m just to clumsy to assemble them. My money is on the latter!
The esteemed David Lister writes to BOSmail (in reference to my boat CP) “It is now acceptable to distinguish mountain and valley folds in crease patterns with differently coloured lines such as red and blue. Were your original diagrams coloured?”.
The answer is no, because I thought it simple enough, but perhaps for this flower, it might be a good idea, plus it’s all good practise!
In creating said coloured lines, I realised I’d been over-complicating the design to no good purpose. Originally, a pinch-mark provided the location and the book folds didn’t extend further then was necessary, but in for a pinch, in for a pound. So here’s a revision, almost indistinguishable when folded, but much cleaner crease-wise.
I have to confess to be largely untroubled by the appeal of crease patterns, but of late have actually been trying a few and finding them curiously stimulating! I feel this is not simply due to the intellectual challenge, but because a central part of my creative process is the sequencing of a model. Basically, when I create, it’s largely intuitive and experimental.
When a completed design emerges, I then need to discover a “good” folding sequence. This should be elegant, satisfying, efficient and above all, teachable. This part of the process involves a great deal of folding/unfolding, looking at how the creases combine and in what order. In essense, the same way I approach a crease patttern challenge.
Needless to say, my simple efforts are not going to cause many sleepless nights to Mr Lang, but perhaps for someone new to CPs, this may give you a toe in the door. Remember, a “good” sequence puts the right creases in the right orientation, so don’t just get a result, work on the folding sequence as well. This will have a bonus result of you learning the model very effectively.
The model itself is a simple sailboat, which happens to be “iso-area” (in its most primitive form!) – one side will be white, the other coloured. It is also “pureland” – only valley or mountain creases required.
This is just superb, right down to the choice of paper. Click the photo to go to the creator’s Flickr page…
The traditional hat-to-boat from a rectangle forms a regular part of my teaching classes. It’s fairly simple, involves some nice “in the air” open & squash folds and makes a superb boat with sail. I also regularly take newspaper with me to deliver the classic “captains shirt” story, which never fails to amuse young and old. There’s some more useful info about the model here.
One method I often employ to reinforce learning of a design is to have students fold it again from paper half the size. They then repeat this process and a friendly “how small can you go” competition often ensues. The boat is perfect for this and you can also introduce the concept of A4 / A5 / A6 etc. if you wish.
The boats also tuck neatly into each other, providing you fold such that a decent sail is produced. I’m sure you know, but the ratio of sail to hull is determined at an earlier stage, when you fold up lower corners.
Folding to the top produces a sail level with the top of the hull. Folding less than this distance produces a sail. Eventually, the hull is tiny and the sail huge. Encourage the students to investigate the possibilities.
A few years ago I discovered a development of the boat, one which I haven’t seen before, although the chances are it’s already “out there”. You perform another “open & squash” move, swinging each end of the hull in opposite directions and you have a fish. Neil Calkin points out in his comments that you can take it at least one stage further, producing a kind of gondola, although this may well be beyond the capabilities of a novice folder. Further iterations will depend on the thickness of your paper!
These ideas further extend the possibilities of this sequence, (providing you don’t tear to form the t-shirt!) allowing you to make “sea” montages by using a large sheet of blue paper, drawing a line to represent the horizon, and adding boats (and birds) above the line, fish below. A sharks fin is easily formed by folding a square in half, try setting this as a creative challenge.
I came up with a module recently (on the day I was invited to the UAE to teach, hence the name). I’ve made diagrams, but that would make life too easy for you all, so here’s a photo showing the nearly completed unit, plus a couple of possibilities from it. The central “diagonals” can easily be removed. Any of the “Sonobe” configurations should be possible. Let me know how you get on with it!
It’s fair to say I’m obsessed with origami dishes / containers. I’m regularly ribbed about it when I volunteer to teach at a meeting (“not another Shen-like Dish Nick?”). However, I’m unrepentant – a man’s gotta fold what…
However, when it comes to containers, nature has us beaten all ways. The egg shell is perhaps natures most perfect container, but seeds of any kind are impressive. I found this chestnut whilst walking in the park yesterday. Not only is the outer shell superbly designed, but the inner seed is a real jewel. This one had two “conkers” within, each a gem of perfection.
So, in all modesty, I thought I’d display them in one of my own containers, Ali’s Dish #2 – a development of Ali’s Dish #1, featured in LaFosse’s “Trash Origami“. Ali is my long-suffering origami-widow who is undoubtedly thrilled to have a model named in her honour.
They’re perhaps not directly comparable, but I hope my quest for simplicity and beauty in origami mirrors evolution in nature. And yes, evolution is real, despite this wonderful tome from late 60’s America – don’t let anyone persuade you otherwise…
My daughter received this folded envelope containing a free sim card today. The design is traditional and well-known, but this is the first time I’ve seen what must be a substantial use of it. As with all these types of commercial folds, I wonder who actually did the folding?
Below are diagrams by Matthias Gutfeldt from his site. used one of his paper plane designs in a book many years ago and since he hasn’t updated the site since 2004, I guess he won’t mind me poaching the image!
At a mini-meeting in Hazel Grove (near Manchester) yesterday, I re-learned a model from the distant past. I can’t remember where or when I last saw it, but it’s a 6 piece modular made from a blintzed bird base.
This got me thinking about the BBB, which few of the attendees at the meeting seemed to know about. Back in the late 60s, the BBB was seen to be the ultimate base – you could make almost anything from it – dragons, horses, beetles, even a grand piano (Pat Crawford). When I started folding in the early 80s, it was still a talisman for beginners. Who would ever want more points from a base? How naive they were 😉
To make the modular, sink the top triangle by half its length, then fold each of the four lower flaps to the top. Open each flap out at right angles to the next. Form a ring of four, ticking corners under sink edges, then add two more to form a cube arrangement. It holds together reasonably well, although smaller versions are tricker to assemble without glue. Almost a joke there.
I did a quick google and found no immediate diagrams for either the module, or surprisingly, the BBB itself, although it’s used in passing here http://www.barf.cc/nuccrane.pdf As you can imagine, it’s a square, blintzed, from which a bird base is folded. The blintzed flaps can then be eased out again. The method I prefer, created via a waterbomb base, is shown below.
update : I’m told the unit is by Nina Ostrun and is diagrammed here although I still feel in my bones I’ve seen it a long time ago.
I’m deciding which folds to make for the exhibition table at the York BOS convention tomorrow. I always agonise over whether things are worth displaying, since my tastes veer towards the simple side and put next to an ultra-complex model, the two styles don’t quite complement each other.
I’d be tempted to arrange tables by complexity, so like can be compared to like. Here’s one I’m taking – I finally found a use for the pack of “opalescent” paper that’s been gathering dust for years – gaudy but effective 😉
Here’s a couple of pages about my work with masks, published in the Oru magazine in Autumn 1993. I never dreamed what extraordinary work Joisel would soon produce! (Click to enlarge the image)