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A QUI·NIET·S·QOK·

Publis h €:d by The: .A PP~€ Pres s 6- Blundell Street CondorrN79BH

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COpyf~g h t, cg 1990 'Q u~ nl~'l Pu bhs h I ng .L.i mi toed.

"A,II rig hts re se Ned" No po rt pf t'n.!is pu blkati 0 n, . may be reproduced, stored Tn 0 ret~i.eva~ s.ystehi(~

a r ' ro nsrn itted in -0 ny 'form or'hy 0 ny mea ns, ·1

€ leclron ic, rnech a nrco I~ p hotocopyi'rfig [ r8CQ rdi ng

or otherwise, y;.~fthou~ the' p€rm~ss'iop of the .

copyri'g ht holder, ..

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Thrs book Vias desTgned end produced by

<i Q u in t'et Pu b I ls ~u n'9 U,mifed

y 6 BJund,ell Street"

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london N'F 9BH

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Creative, Dir:C'~o~l: Pe'~~r Brid9.ewoter .

An ,oi recto r: Ion H u rri Desilg In er: A n n i e WiOS.S

I U us,tr.cHi on ';' Davud Ke m p ; EcJi'tor:: Bor.bora ful:ler .

P~otog [0 P h er: I o n H o'vv§s

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Ce ntro ~ Souths rn Typese'Ue.rSI" Eostb 0 U rne ; . . Mo nu loct IJ red i n Hon 9 Ko rig by

R~g entPub!~$h i ng S,ervi ces limlted

. • Pr',f nJ~d 'in Hong Kong by

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IllNITRO'DIUICTfoN Pape:r

Symbols

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= FIRST PRII~IPLES 9 _

Glow to' rnoke.o square '9 ~

~. ~. ;r1ow to moke a crease 10

.-:,-. ..::. ~.. ~ -; . - - ." . - . - .. -_ .

,- ":~ \~. Bosk 'folding' techniques 11

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:~ TRADIITI'O,NA,L :DESIGNS; '13 ::

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:: Crown '15 .,

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Architecture I ,Module B,orkin'9 D0'g

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. ..:.r~"_ ."" ."""~,,_, .:. '" 10 pi nio ns, but most poper-folders would agree that, the v-ery_ .~;

bestorlqomi 'js erjovoble to f,bJd_a~nd ottroctive '0, look at, The foldli'ng,', ;

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.. se" :,J;; _. h lid b - - , _' 'i"':.J f1 I . tl' f'" t 't

.-:quence S.:OUr-'j ,-:€ econorrnco cno t ow' e eglon-y' rom one 5'--ep '0 _'.

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L the next, sothot t~~ desiqr e:l~ergl~s seerninqlv ~.ffortle,ss!~y from the '

'~'l~~ . poper end concludes boldly, ever .drornoficolly, ~~thoOrl any messy:,

"\J:.. J' ." r.. ~ I ~. .. •

:~ roundmq.of or tucking in. Ihe coo;plleted desiqn shcbld no)' be scorred -, ~

~jth 'unwanted creases. be m.isiha:pe·h or hove an un~'ecessarHy i~ complex surface. ~ ~~

"

Perhops ~na'stjm'portlant,ly thouqh, th,e desiqn-should somehow be ! ~

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rorirgir}oL 1p',e -restrictive J rules' of o riqo rni (' he paper ,mo:y onlv be :

folded, never cut or 'gllu,ed} rneontnot true pr'j'ginolify is rare end most ~

<rd- '10 • Ll I' h ". ~r . I ,Ii ~ I I ..• m - I!. ~ • -,

i_ esiqns, tr'.1oug- _ clever, are OTten ittle more than vcnction s on well-

~ :~

.:- • ,L ., '~orn themes. ,A clossicdesiqn must-be a one-off. ~ . /

: If you [are nle~. to oriqomi, pleose rs,6d the, next few pages before

'~ starting'to·fold. Theywi'll make lhebook easy ondo pleasure to use: , IExplEfrijenc~d reatdBrs moywish'to skip ihem, but do bile corefu' toIold . . ~, Within your capability: too much cmofion can end in frustration, theugh· : 'it is sometimes fun to tty somethinq ·d'j.fHcult. Pleose remember thot ,-~ - ~ ~wbeth~r ~IOU1 'are- a master or c novice, vour levef ol abHilh} is -unirn-, ~

• • ;-.. • oj- fl _ J .11 I ~. ~ ., I: .:~

_ ' J~-.u.g 'portent, s~.ronrg las 'yo,U' en~,oy what Y01U, c.dn moke. ~n feet, the. very ~,~~~, ~~

. 'i; greatest desiqns ore file Simplest ones, [>0 beqinners.tckenotellf '~"

-·~:t isn't Whd:t vou put in thct cen rncke 01 desiqn '0 closs'c, but whet you . ,} .

~ leove 'o-ut.' In orrgQlmi!!-.ll~s.s is 'somenmes more" . ~ ':.

. .

~. I hove hod the qreotest pleosure cssernblinq this collecuon of

.. ~. personcl Iovourites ojid hope t~a'f 'thi~y will [delight and inspire you,

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1: '~;~:~ti~::i~~n~~::,ci~~ ::e~rtJ~is~~~~:~:r ~~~:~~ ck~i~~:. t~ ::

: 'porflculorlv @10b,d .prccfice poper is photocopvino poper, 'which can ~ : - be boug htj'om" stb'tioners or fr~~ the photocopying pri nt shops found-' .~' in most s'hoppin'g centres. _ Buy the~ P'OP'ISf in bulk ,an[d f1'he· Clost per

sheet becomes minirnol: For a smell sum, OJ print shop will trim the

...

:: oblonc ••. sheets-to perfect sq ~~,a:~ res sovin [g,'-''- -",',O-"U,_· rnuc h lo b our cnc g:_~-II ro, ~ "_ , __ \"'V' ~ _ , , v r I v , u, _ r. , ,I J_ V~ ,', "'" y _ _ _ , _ _ _, _, _, _ . __ «: u _

f= I: ( rcnreeinc cccurccy. Other excellent proctice popers 'i'nc~·vde writinq

r paper, typfnlg paper, computer .puper. brown wrcppinq poper ond ,. " even pcqes cut lrorn (lllma'gloz'fne.iJ no other poper is a,voil,abile, Avoid \

. l~

~ foid~'ng newspcper, paper tissues a., nd duplicetinq paper"

i~ F ~

- A, falvour~'te desiqn folded f'or displov w'rll hove a @r9:Cf"8'r presence ~~

H mode from an unusual but oppropriote poper. .Art end era'ft. shops ~,

~~

.I ( ~, sell (1: wide vorietv of interestinq P,IQ,P,e-rs suilcble for foldll'ng, indodinq li

I ng· ••. · · ,re'~, ·(5tro'th mo ····r~~l p·~"a.·., per p-o,: s 't',~i po p '. '~r WIO" itercol O-,~I If' pc tpe r 0:-- nd tex- )

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k lured ·o'r morbled papers. Some lorqe cifies have shops which spe- ~; ~ _. claHz€ ln selillihg nothinq but poper end fhese are C'€Tta'~·j~ry worth. 0 ~~

i::- . :",; ; -r~' -;-:-. • I ~ ~ I • ... • • ... _ _ ~ ." ~ _ • r ... : -.. .11 - •

;~: VI!S;rt., Oriental import shops and craft shops s€~11 pockets ol frdditionol

~~ square oriqorni poper, 'white on one slide end-coloured on the other. .~ ~.-

~~ .. - _.. - ,)" - - I ."

V Oriqorni poper is convenient to use o.'nc~J1rett~y· .. · to look at, but ~t co - -

~~: I·· .. . .. - - _. . - _. LJ. . ... t;"t"" ~ -, - . -- -j .. u_, I .... n

i~ . rna ke. some desiq ns 10'0 k qo udy,. For 'd isplovs, use j't with co rs. ,

.~ - Consider too using unlikely papers: tryfoJding wollpcper, old posters, pcper-bccked rretollc '·to~'!I;· decorotlve g:'[ft'=,wrclR poper, hondmade paper or even thin 'cord, cellophore one pcperbcth mats. '

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Anvthing qoesl Stort a,· collection .o] unusuol papers, ond experiment. ..

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ORIGAM

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vrnools are the core o·f any book obout oriqorni. They need not

all be learnt at once, but ~t is. importcntto know' at least the symbols for vollev ond rnountoin folds. When y[ou see an unrornfior ~ symbol, refer back tlO thrs page to see what lit mecns. ;.

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I P R I N . I P L ~~' ost bouqh! papers are oblonq ond have tOI be trimmed square. ,:

There are severol ways to do this. but here-is he best ~

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3 Cut off . he excess oblong of poper with a non -serroted kitch en knHe which hos a bla : e at ieost 5ijn (112cml} long.

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4 Hold the paper firmly against a ~: herd, leve,1 surface ond cui olonq

the creose with o series of smooth

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sl~cinlg movements.

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.. 5 The completed squore. Done properly, he edge 'is pleosinqlv cleon,

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hi's may seem pedontic to the eager beqrmer, but it is important to know how to make an accurate crease. Just one 'inaccuracy early in a sequence win throw a~ll the later creoses out of oliqnrnent, creotinq a clumsy design.

The bosic rule is very simple, Keep rototinq the paper (or turni'ng it over); so thot every crease is made from e'ft ~'O r~[g ht ccross your body (or r'~g ht to lell, if preferred), and the po rt of the po per wh ich to I ds

, ,-, Co " he ,- t h- " ," " ' ' " , , , . , , ~ .. ',' 'd ',~ , " ," " ' ,', \ -" ~,' ~ , , 'f" , - ~ " ',- ~ be d' " ' '" ,t

over w en " e crease IS mIO,· [e moves away trom your '"0.",, Yi no

towards it or to one side.

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2 An incorrect crease.

When you see o. mountain 'fold : symbol, turn "the paper over (or

:: open up 'the inside] J ma king a valley

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fold! then turn bock over (or close

. up) 090i'n.

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~.-...._---------~--~---~--------- - -

A ~ R.j., C -ease.

M correul~r "~'

. hen you see 0 crease on a

ia 'r= ~ .. ~, wh ic ~, does ~ ot [Ll n from

a- T, riel l't, rotate the paper so that -~ ~ ,Q~ I --en make the crease"

CREASE

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An incorrect crease.

Creoses a r8' not chores to be

::: done as quicklly as possible on fhe ;~ way to cornplennq a desiqn. They

;: should be enjoyed. Some experts

,: believe that the pleosu re of oriqo mi

, '

Ires more in the, making of creases

and the monipulction of pcper.

_ thon in achieving a completed

~ desiqn, or looking at one. Take time j out to en/o¥, you r fold i'ng"

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FIR S T

P R ~ N C I P L E S

BASIC

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:: 111~o~~~:i~f f~~~rS~~~inbga~~ct~~e:~~~y :~~~ 1~:de~~I~~~~~~~ ~hu~ ~

; more complex 'techniques do. The most common technique is the ~~

, reverse' fold and its opposite the outside reverse-fold' (most' thinqs in .,

,. oriqorni it seems, hove an opposite]. They ore- exploined below. as IS ;

1 another technique, the squash fold" Other techniques are explcined

:-=: h h -

.. wit- the desiqns.

H you 0 re lJ nlo m ~ I 'i a r with th e- reverse a n d sq u ash fa I ds. plea 58 ~ tok.e a little firne to fold the bosic examples and sfudies which 'foli,ow.

,REVER,S,I [P'OLD

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Fo~d in half"

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nototed [I'i ke th is:

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3 , ., then fold it around the back .~ o Ion 9 th e' some creose

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.~

2_· Re'v~r·~g _ J',.-. " ..... 6' .~~

-

:2

~

~

; [If you a r'e u nio m ilio r with th,e

i~ reverse fo Id I pn~pa re byfol di ng the :, crecse backwards ond iorwords as

..

, j'n steps 2-4 of the bosic exornple

obove

4 Unfold.

,S,t'ud les

.. Hiere are fu rther exo m pies" Loo k at

_.

them co reful[ly before ottern plinq

them.

-.-

-.-

~..-' t .

. ......., I _.;_

I :...

. /.

. -

'/ ..-

- ,.,'. ,

.... , ~ : ,:.... ". .

-= -__.. • .......

.. .-:--'

5 Hold as shown, Swing "lhe top co rner d O'wn betweeo 'the layers " ., ,

, ...

..

~

.. ~

1 Reverse

1 1

C LAS S

1

left .

Fold the corner across ITO the,

: ~

; 2 ... then fold if around the back - along the same (rease"

. :~

.:.::

. 3 Unfold.

_.jj! -~ ~

4 Spread Aond B.

5a'old both short creases cs l~Jle' s, liMi:ng C,

c 0 R G A M,
- .J

I

::'6

.... [

~

~.

~.

. '

.'

C-' II b k'" h 'If'

I .~ I _" I' _" . ... -. _"_ .... - -_"_ .-' - .

,0 lapse ,DC," In .0 ."

" " .,

, . . ~

"' " ~

".

~~

~;

f, 7 The outside reverse fold

" "

" I

,. complete.

, ,

~ The outside reverse Iold described :. above Is nototed ~i ke this:

..

~~:

.. '

,~

A

." .

,~
, . 1
. ,
) 2

,

,

v v

~; S,QUIASH FOLD

.~~

-:~ Ba!,s,'ie Ex,amp~e

. :~ :~

.,
.,
..:
~
,.
,.
~.
,
~
,-::
~
~:.o
s..
, 1
~
~
?- foid in half ..

12

2

,

,

I

Fold dol to dOT.

,,3 Unfold, so tho' A stands r upright,

Squash A ilct, opening the :r pocket - , ..

:..:-

5 like this. Flatten the paper. The .. squcsh 'Told complete"

~ The squash fold described cbove is ~ notated like this:

2

,

,

Squash

~ . .

.. " ~

., N N

-,

_:;

,

..

f

N

: ~

.:

TRADITIONA

DESIGNS

..

':

:
:
:
..
: :
.'
.'
~
"
: ~
<.
~~
." J.
.. ' .
..
y
~i .,
.,

,.
,.







,
.,
.,
: :
: :

.,
~,
,


..
~~
~
, ~
;:~

,
~
n
..

..
: :
". .,
,y
.~,
, .. ~I rodifionol desiqns are de-signs o·f uncertoin oriqin, Nobodv knows 'where they were first folded, when; by wh,qm and sometimes ..

whv u Some may be a thousand years old or more.

: Curlouslv J 01 most all (surviving} trcdifioncl des~,g ns of note have .,

~) voriotions, 'whereas .most modern closs:c designs do not, The Junk .. ond Sampan for exornple, con be· folded In numerous. ways, not lust

... to achieve the some form, but, I 0 cchieve simpler or more complex

.-. v '0' rio t'--I"O': n- s D:v·· Ci'n" th e' ~Ie' m'-'-: e' n- to ry...... B-;' 10" n g' - e" r a" n c G"-' II"d-" er co n be fo Id· .'. e~ c I' n

: II '-. I _ >:. ,'Ii lb·; 'G . " \.zF. -. .-: r.. :,: _':,' ,:." '-._ '-. . -' ' .. - . ,',- .... c ,,_.

severe I d ~ffe ren t wa~ys" Pe rho, ps th r s has h 8-1 P ed th em to survive each :~ generation can remember the basis ol a desiqn bu ' forqets the detoil and so has to re-invent it.

Whaf' qualities make the baSIS of a pornculor design SOl memorable? _ Eosterr svrnbollsrn aside! perhcps ~t' IS because something coout that deslon is unique: 'he Sanger makes a loud noise, the Dish IS circulor, ~~ the Sampan turns completely inside-our and so on. W'hot"s more. they ell hove a clever or entertoininq finish to mokethe toldino worthwhile. Oriqorn' ~s very much a pllerform~ng art.

Some knowledqecble paper-folders have lit Ie regard for trcditinol desiqns, preierrinq the fireworks of complex modern erections. .-However, iike popular melodies, hese designs have endured becouse -J of an oppeal more profound than mere fashion. Their simplicity 'is ,~

..

decep ive. tro nscendmq cultu res" ~

i3

ellA .s SIC

ORIIG'AMI

his is one of the most entertaining of all p'oper folds and certainly . ~ fhe lo udestl Practise Step 7, beca use 9 odd tech niq ue wi~ I increose '; the volume of' the bang. Use 0 rectangle of thin or medium 'weight ;: paper, at least lOx15ln (:25x37cm}" lorqer sheets wiU prodocelouder

.

noises

(" .. I .: ... r. :'.- I

'I... _ .. 1'..:; .. _. . ~:~ ...

, ,

(

, ,

" I _

-, " , I'·,

._ , .

. ~ 1

Fold one long edge ocross to ;

_

,. the 0'1 h er" Crease and unfold.

. ,- I

• I.. ._"

, I

, . ,

. ',/ /

.'

./

.,' /'

/' ":

·1

/

'\" -

\:

~ '\

-.

_, /'

. .-- - /'

.. _ ...... ''':.- ...

I

,

. I

,~--- ...... : ...

~_""""'''''''':''''''~''''''_'~'''::''''''''.........,;II:: ............ ......_ ............ ...........,., ::

2 Fold in the corners to the centre

c're·o."s .... "'~~_

_.

~ .

•

"

I

1 I

... i, ..

. _~

3 old in half olong the Step 1 crecse.

~

_ ,

\\

7 Hold X as shown. Bend vour

I

._ elbow so hat the Bonge'r is behind

your ne,adl then whip j downwards ve ry qu ick.~y _ The po per w'itll u nfold with a loud BANG,! If it doesn't, check that you have n 't hel d th e paper U aside dawn and -ry to move your arm quicker.

4 Mountain fold across the middle. Crease and nlold.

5 Check thot the centre crease made in Step 1! ~.s a mounlo in ([f it} s a vo IleV i' tu rn the po per over) s .. he n fold the: she rp corners across to the ri'9ht'.

.. 6 Mountain fold in half. Note the

~

~. double: corner at X_

., e ,

14,

TRADIITIOINAL

DESI'GN'S

C 0 W-

,", ". _.... '.. .

R ............\ N

I~!~ :~II ~~c ~e~O~~tl~:O~i~ ~~~~i~~i~~~:~ liSS~;::g;n ~r~::e~ U~~:ri~~ -,

~ squore shape il w~111 grfp vour head well Use a squcre of sturdy ~

z:

~ paper 15 x ~ Sin (37x:37 cml for a child and {)I little 110 rqer Ior 0 n odult .,

head"

j

,

, . . ,

Creose and unfold both

dicqonols.

Fol,d th·e corners to lhe centre.

_
; j
,
.. :(
; ,
;.
~.
._
._
.... :
~ :.
, ., ,. v

3, Note A and S, Turn over,

:[.- ~.:( _ • • -. ~ • <

. . . I " II'" ~I ::

...... .• 1-._ .

'~,'~_I - ''''''l''~ '1, •• e:/'_

, .._ I.,' _~, -...;' ~,. ,

". _ 'I' : .. . _ ~.. ,_

- ,,,,\ • ..;.- .. : ..... _ ~ 'j '';;''"-~~ _,,'. ..' _'

, " ,', ~ .. OJ? III, • J L ,~.' u·. " •• '<P' _

____;;;;;...._ II 0(. , r . ~

. . " -',: - · - ' -. . 1 ",:,,'.' '!

'I'· :.,~~.

'. r . --/.. ',.--'. I, . ' • , I

I, ~

6 Pull open the slit. , ,

-, ,

_

;-:.

7 to C"'O.,' rn plete t-ha Crown.

_ ,., _ ..".. ~' I II 'G' _ 'G', , ,

Press it into shope, sqoorinq the, sides.

: 4 Fold the top and bottom edges ' to -the centre creose. a llowi n 9 co rn ens A and B 'to. Hip out fro m behind " " .

, ,.

..

j.

"

5 - - - like this. Fold the srnol trio ng I es under the 10 rqe ones.

'15

C lAS S

..

,

0' R

GAM I

c

- B , R D

heroes some oriqorni designs con be ncturolistic, other de= f siqns, such as this ore, are really symbols. Here is a bird = not _, <0 duck or a swan - iust a blrd: it has a head, winqs and and a t,OIH.; so ~.

it mus: 'be one, even t'h,oulglh 'it doesn't lcok like any pornculor species, Is .. ·the deslqn a remorkoble distillotion of form, or merely an example of ..

.. 'inadequate echniquej' Surely the [orrner. ..

Use a o-Sin (15 20cm) squcre of pcper.

.,= ·~r· -

. - ,

. ~

._~_ 7·

,~ ..... . ~

~'!. •• ~ ;. ~ .~..:

:' -_ _, _----

. . ....

• • .. III

"..'_' .. ..

;_

. "

.... : ".

• >1<:,.. ....::. .. - '. ~ . ",

. -~ ·-·/~:·· . J rr, .e"> . ~·-~'0"

':. I .. ,,_---.. (.';" .. t~.. .. ~ ~

". ~ :' ~ .: - 11~· ". I""?,.,c"

,"'.f!' ~ '. Ii II "/-' •

""'~.. .' ~,-r.\ ~ - i. . .. " ......_L-::

. _ - I -, ..

, '. ~ .. . . ,.,'

. . -

- .. '!I!'

. ~'.".-- ! ..

1 Make a mountain crease along - -0 diagonal. Untold,

I •

2 Fold two edges to the centre creose, Be co refu I ['0 rncke a neot corner ot th e. top.

, 6 Lift the beak away from the neck. Sq u eeze fkrt the bo ck of this head to make new creases.

_~ '".

: ....

..

"

.. . ,.

.. ..

_

:--;:

.~

',... .

3 Fold dot to dot.

,- 4 Fold the sharp corner bock up .. a litt~e way. The excel distance IS unirnportcnt ..

..

:~

5 Mo n 'oin fold i' half.

7 Lift the neck away from the body, Sq ueeze flat the baSIS of the neck to make new creoses,

' .

~.

~. 8',

The Bird ~s com plele.

,

_,

T R

A'

,

o

o

,

N

A

,

L

D

E S

T

CUP

.' ew oriqorni desiqns ore procticol Made [rom a wcrerprool rnoteriol such [as metollic kitchen fO'111 or greaseproof poper, this sir-iple design will hold a liquid without ll[eok~ng through an open edge. Turned upside down, j't willi even rnoke on excellent' hat. Flap B can be brought down 'to form a VISOr. Use a o-Bln ( 5-20cm} square of poper,

1

Fold in huH olonq a dioqonol.

4'

-

Fold 0 'e dot to t,~ e other"

2 fold down comer B to the bottom €,d'ge ." I'

5 Fold one dol to the other.

3 ... like this, Unfold,

6

,

Fold down single lover B ..

7 Fold A behind.

17

G

s

N

.-.

::.

" <

,

..

,

" "'

'l 8 The Cup is complete.

-

..... -~-.

CLASSIC

"

WATERLILY

his is 'he full version ol a spectocuior napkin fold sometimes seen .. in restcuronts. Note the rernorkoble monner in which the unin- ' ~: terestinq shape mode up to Step 6 is qrcduollv opened up and :: , transformed into the be·aufl·i'ful completed design, Use a paper nopkin,

Ordinorv pcper'wlll rip ot S' e·p 7 .

..

..

~

1 Fold the corners to the centre.

2-1

.. _', A90in.,r fold-the corners to the

., centre.

3-1 ~

Once cqoin, told the corner's "to.

A

.

~

...-

D ~:'';''~'/ ~=:r.~===~~

c

Turn over. Nol,e .ABeD.

.A

c

5 Yet again fold the corners to -, the centre,

,6 Note E" Hold all the layers flat and plJ II out co mer A rnenfioned ~n Step 4.

I.:

\

7 Hold as shown. Pull A forcibly u pwa rds. so thot i't u npeels a rou nd E " " .

-

~

;-

8 ... like this, Repeat with B C end D j keeping hold of the centre ..

B

TRAD'llIIONAl

"

.J

, 9 Turn over, Note FGHt Lift F ...

.

,

..

~:

,. n

'110<,'

, . , and pull it up between A

and BJ' as fa r a s 'it' wi II go. iRepeat·

W·"li'h G'_"" H ,n rod I s J'IIII kG;:,,Q; p'I'ng h a ·Idl 0,[

. " ,,~,' I ,'61111'.' t:' ~ ,,', IL"C '" I' ~"". 'l·c'~1 <~III

~: th e ce ntre.

DESIGNIS

B

1 1

T ~ ~ -

. " " I:' ": .. :,' j'

urn over.

, ,

~

.

"

13 ... and pull it up in front 01 A. Repe'ot with K Land ,M"

.. 14 The WOferlily is complete

. 12 Note JKLM. lift J' ...

19

CLASSI'C

o R

GAM

DIS H

he D'ish is u nique i n oriqorni: 'it is ·the oolv known circular desiq n .. Whafs morel the final shape is very ottroctive and' he openinq out moves 1 n S reps 11 ='1 '2 01 re pa rticu I a rly sat! sfy1 ng. Use a 6-8 i n {11.5- ~: 20cm) squae oT paper. For a decorat'ive eHe:c:t, use a poper differenHy

~~ colou red on ~~"S two sides,

N

..

)

\

--~-

..

,

N .,

..

..

-

.. ..

;

J :
: : ..
-:
:
: :
-
: :
: :
-
.. : :
:
..
,.
". './

. - ... /" .....

... _,

- "

:. . ~ ,'" '.

..... / .. - •• ' • ,I " "

., ./

.... r ' .:

... ' ... <' ~.

- -..... I

..

J

1 Valley fold in half horizontally and vertlcollv, to make four squores. Unfold each crecse.

r.

II. .

. '.'

,iii '.'

~ ,":. .

"I .... /

-......~ .,. I"'~ '-.

r: _ ~-r: -: .. --.

~<. '. - '"' ~ =:-7- ,-<' ". .~~, _. ........

- /l~ _"-,

.,' /- .... - .. ' ': "'. ~

"',. ". • '"0:- ' ~ \

• <--.

( ! I ,

'- "......\

.,

2 Mountai _ fold each diagonal. Unfo~d,

3 Fold the corners to the centre

~ ,4"'1[

.. Fa Id the corners boc k out 10

the edqe,

'.' .'

5 Crease and unfold four mou nrc in folds as shown _ (, It is proboblv eosier flo rnoke volley

-, folds by tu rni n 9 th e po per over.]

~I,,~

'~ ..

6 Make short mountain dioqonols. P'inch the edges neor the corn e' rs

~:,", _[ -, .J,.11 I. a:

7 ... to raise 0 table shape in the centre and mcke the paper 3D,

' ..

.. Push down on "he centre point'

-:::

whils 1 pushing the edqes of .he

. 'tobletowords he centre ...

..

...

TRAD~TIONAl

DE.SIGNS

':

r »

"".

1 0 Repeat behind.

12 This is he result. Repeat on , the other thr,se sides,

'. 8 ... like this. Note the X shape of the poper Flo,ten the X shape with two points to either side,

13 T -e Dish complete, Neaten th e i nterior e- ges to ma ke on

a tractive s or shaped centrol pocket"

,

,

9 Reverse fold the rom corners inside.

11 Push the bottom edge

u pwo rds wtth a ell} rved crease, so

t" h a t t h - e to p _g.d - - ~ ~ . th ~ - - k

-_" I.' .. ~.'! 06 ges 0" 'e poc.e

"" sepo rete Ina cu wed s ha pe-

2l

C' lAS s I C

O D I G·:.·-.·_. A··:·.. M····· I

~ . ..

F L A P P

., t" I?

"'tl - " ,:' ~ ,,' ".

, " ' ' " ,~." 'r' .-," , I

, , ;,~ ~ , ,~' ~ " _,r ,

, . .,_ "", . - ,iT

, -v - ... -', " , f itI,

. - - "Ii!! ' _' , .• :, - ,

, ~:' " ~'.~ /'

, ' ~'. \ -" ~~ .,'. .-,. .

: , ') ~'/r,' ,"

r . ~. '. : rI'" ~'. • I "', I. J"

:1- ~', '. ' ,-/." ' -, ' ;-': ,

• .' ~~ .. , - • ,-'. • •••• • - I

,~ " - /- .... , ," - ,'-,1iI, -, ~ , " ' : _

,.~,' ..... -:: , ;. ~ '. ",,:

:./';~'. . . .:" ~.,. -.:"

. . Ii" ~ .'. I '. .. • ; ...". iii

- ,. ,.' " ... ( .. - . .-t!-

. ~_' ' r' ' ',,\,

.. 1 Mounioin fold both diagonals. , Unfold.

, _; 1< ,":.'

i ' __ :' ..._ ...

: ... .... .... \_:... .l.1 . ~ ,

~ .. '. _ .. .' ._~... {o"

',:-' -......

~

'r -

~

,'/-" ,

.. ' I

, ~

• ,-:" ] • >

• - I "_'_

. , :" , • " • II' ,'~ ,', ,

, ..,

, , ':~ r

.' II',

'- '

-, 2 Valley fold horizontally and verficollv _ IUln' Iold

. !., .. o~, .

..

...:

,", A -.;

, ,

.. 3 Fold the top edge down to the bottom clonq 'the exisfing crease.

B

- G'

. . "

. '.

N· .,_ .. ,

.

R D-······

.' - - _ ....

;: H:r~~:,f:~~,~fy~~~~ ~~~~~:s:~~:II;~c~~~I:~d~~d:h~yb:~~ :i~~~

;~ when Happed is. drornotic ond oppeolinq. If you wont to clony an :: oriqorni design in your handbag or wollet 1'0' enterto.n people with, ;~ thls must surelv be the one .. Use a 6=10~fl (lS-2Scm} squore of poper.

) ,

, '.

." J!-

, '

, , ,

4 Hold as shown. Swing your ho nos toqethe r . " .

,""

1·" < '

• .':, ~. " r '

. ,

. . '

.

:: r·

. :. I

5 ... to create this 3D star shope, I!·f the potte rn of mou ntoi n s .. and volleys IS incorrect i will not' form, so check Steps 1-2"

,

..

,

- 6 With the closed [neat) corner at' the 'tOPI' fold 'j n the lower iron'

~, edges to the centre crease' .. , "

'2":'2"-

.....

, • .' J

.. 7 ,- _ like this. Fold down the top trio ng le.

" ,

8 Pullout the side trionqles .

,-....

TRADITIONAL

DESIGNS

,. ,

.:~

, . . " ."

, " "

., 9

~ . To ke hoi d o·f ~ ust the 'fop layer.

:~ Uf itu pwo rds . " .

" 11 Flatten the diamond shape with strong creoses Turn over.

..

13 Reverse fold each of the

:." lower' poi nts, so thot each reverse starts. a little below the centre of",' Ie diamond .

1 0 <" swivelling it right up and over the top ed ge of th e paper shops. A and IB w·iIII imOV€ ·nw'Ords ..

~ 12 RepeaSteps 6-11 on this "~ side, to ma ke a nother die rnon d

~~ shcce to rnotch the first .. Note the f, loose tricnqle ildden between

. ,

:~ them.

14 Reverse the head.

23'

!', I,.

15 Hold as shown. To complete the Hoppinq Bird, move your han. s gently apar end toqether, oport ond tcqelher, and the w'ings will Hap~

- - ----- ----

CILASSIC

1 Fold th e lower front edges to jhe centre. Repeat behind. Be

., co reiu I to rno ke the botro m corners neat and shorp,

..

. 2 Reverse fold t.he lower spikes.

eRA N E

:~ ,. he Crone is the olle design that.!· ol'J .J.apanese people seem to ; :;.~ know. ~n recent times ~ has become a potent svmbo] [of' pecce .' . . ~ and [riendship, Garllands of: Crcr-es strung together in the flo·t· form .. :; seen in Step 4 can be seen at many Peace: sbrines around the world.

Use thin or medium weiqht poper at least 61n (15cm) squore .. Beqin by [oldinq the Hcppinq B'i'rd up to, Step 13.

3 Reverse the head.

. "

.: 4 Pull he wings aport, squashing . ,the central hump ..

: 5 The Crane is complete.

.'

. .

......

24

~

:" '.

, .

:~

~

"

T R A [D

T

o N

A

.

L.

DES

G N

s

G L

D E R

".

Wha·t could be s" ~ oler ~ G·····I·d vith onlv two' [oldsl Be co re'f"· ~

to foll~w thei~:fru~ia~s c~r:;u~~~b~~~use;it-is i~p~rtoln;\~

hold and releose 'i·t in the correct' we-yo There is probably an even . . ' .. _ ~ . ~- G'" II· d ~ ~ .. t h i .~ . _.. ... . .. . ~'.. _ _ i ~ b _ d - ..: . . d' II ~U' . . 6: '!' •. strnpier c:U. er WI- IUSI' one crease, woitinp '1'0 oe c esiqneor t, se to In

[IScrn] square oi thin p,oper such as oriqorni paper, oirmai'l poper or unde-copv (bank) typilrlg poper, Heavier paper will not float the desiqn th rouoh the oir,

4 The Glider is comple e, Make sure That the I ecdinq ed ge is a nee . circle,

.'
L
"
r._
~
,.
,. ...

3 Tuck one end of the hem in 0 ~' 'fh,e pocket at' the other end/bending the poper info a circle with the nEhm on the outside .

: 1 Fold in half along a diagonal.

2 Fo Id up the lower edge a little way .. fry to keep the crease [exactly parallel to the edqe.

-,

,

5 Hold as shown, high above your heod, with the Glider poinfinq d ownwords. R.el ease i· 'ge:ntly. ltw ill [ell quickly at first! then ~evel' out on," 9 lide a consi dero bl e d isto nee, Remembef .0 re~ease· it gently. Nev,9r throw or push it.

'.'

, .....

)~

'.

. ~ - -.

-

~ . '7

25

CL.ASSIC

OR~GAM

S, A·············.· M·······.···· P- A-········.··. N·······.·

'," '." . '_: .'

r IhlS design has 01 remorkoble clirnox when}' at Steps 1~'12! the ~ :~ · . entire shape is turned inside-out to suddenly reveal the completed \'

Sa m po n '. A, few other des.q ns conto i n inversions to P'OI rt of f'h eli r strvc=· ~~ ': ,tu re, but non 8 to this extent. ,A Slim ple r' va rlofion is to reg a rd Step 5 as .h ,. a [let, uncreosed square! then to proceed as dioqrcrnrned, but omit:' ti'n'g' Step ~3 to create a boot without a conopv. Use a o-Sin (15= :~ 200m) squore of po per with diilerent colours on the two sides. Begi:,n .. by creasing both dioqonols, then fo~dln,g, a polr ol cpposlte corners

to the middle.

:<

. ,

.(

1 Tuck the comers inside.

-.- . -!t: ::I~-

~
;
)
~
~~
c- ~
f
"
,
e »
..
,
M
h·
~ ~
..
,
s:
~
~
,
--:: L E

,

, -:-:-

v,

2 Turn over.

:~

5 IFoldthe top and bottom edges ~( to the centre a

..

,

..

. ,

~

~ ,

...

,

::.

; 7/

.'

: .-_

,

...

. .

~- ~- ~ r 7-· ~,r.:.

Turn. in the trionqles

-

,

,

INa rrow on,@ end, then " " "

! -

-

' .:

~. r - -

-

, .....=..

3, fold the remaining corners to the centre.

4 Similarly, tuck these corners inside.

2;6-·····

..

.~
'"
"
: :
: :
,_'
:
"
_'
,
: ~
; 8 ... no rrow th e other,

9 Fold the side corners 0 the centre.

_, i

A-" I

"

1 0 Pull the side layers right apart fa expose a cleon base" - .

~ "

~' ,"

c

"

I,

-' 1

"

. -

11 ... I~ke thijs. Keep the layers :,'_ pressed tcqerher. Turn over.

27

-'_---_ .-.: .... _.. - -- -

s

"

-, ,

,~,

,

12 The arrowed corners point 'to\JV"O rds you, Push them dc:)'wn with ~~ consideroble iorce, so that they

'; invert' backwards and the Sornpon turns inside-out ...

: 13 ... like his. Lift up he canopies.

. 14 The Sampan is complete.

J U N K

1 T' he sequence of folds to make the Junk is regarded bv lmlony as : the most beoutilu in all origami! porflculc dy the tronsiorrnotions ~ In Step ,21' Steps .5-7/ Steps 13~15 and Steps 19'-20. Note how this f seq u e n ce p ro'g resses effo rtl esslv irorn one ste p 't'IO the next I ~ ke n ctes ~, In a melody or steps ~n a bollet, Topped by the finol extrcordinorv ~ opening out climox, Use O~ 6=B~n PS-:20cm} squolre of pOlper with , d i'ffe ren t co I O{) rs on th e two sid 8'S. B,eg i n with Step 1 of the Sa rnpo n

. :: {S€"8 page 26);

- , . ,,'

I •• '

,,,,' 10

,

- .,

o ',. ...

.( - ..., .

'. I

'.. 1 ... T

: , I .. '_ I

...______,__,.-, .'.

r~_ ...

...... '-. '.:

1 NOI€ A and B. Turn over.

~'

. '. ..

'I ,. I ",

.-,' . . r , ',;'. . (

: ' ~, "1' .'--..... '.

I ., .

I ,

:

. -

. ~ , 1- "~'."

'.

, .

. I·

, '. L

. . ~

.s-

>- -- -;1 . ' :

II . '_ - ". ,

.. ,
'I , ... .... _
/
, ~ ~.
... I· t
,.
r
e-
_.
...
I 2 Fold the sides to the centre, so that' "A end B fl ip to the front .. _ .

..

,

:,. }::

. " - '-- - .

.... ..- -. ,: : 'l. "\ .. _

= ~- .

"_ I I

"3

. - ,', I ike th IS. Mou nto in fold the,

..

;: lower portion behind.

-,

, '

I ..•

, 1 ,,'," .

" -

" : ,; , '

4 Pre-crease as shown, through a II lovers,

it
.,
..;
.-.'
., !::.
<.
~
»,
t ;..:'
~
~
w
w
n
: w
.. ~
h'
, ,.
~
,. »,
"
~:
y
~
, . -

" I

-

l!

5 Fold dot to dot, left and right"

This will open the sl'i't down the ~: centre: and swivel C downward by a -, co nsidero ble disto nee.

,.:-.!'

I,

- ,

, i .. ,

6 Note the position of C. Turn

over.

-

~

..

,

o N A L

DES

I.

I

_
~
-,
"_
~"
:
.. t 1 '
.. ".'
_- I
{-;
M /
f ~I ,
~
"
" ,
~: ~ I
,
: , ~ -
_. I
-
~
..
~ ,_,.
_
.. 8 Fold the corners 10 the centre. »» Re pleat beh I nd _

_

»:

i 7 Repeat 4--6 with D. ~~

"

'9

, Fold the lower edqe up to the

, top. RepeOl"t behind.

:29

..

G N S

~

.,

, 1 0 Pull down the front two ., lel.yers"

.,

"

v ,

t:

,

1 1

Narrow the top oyer.

12 Tum over.

..... :.

..

J

13 Swivel the top flaps around to t e back ... ,

CL,ASSIC:

. ,

,

141 lik h- Th .

~ '_ •• " 1.- e t-IIS., r e po.pe r IS

now 3 D J so tlotten ~,t- by 'fo~cHn'g dot tn dot

_ 15 The result is this picture horne, or intTlgu~n9 belt end buckle

,

~ illusion Turn over.

-

"

_

,

Fold out th e side flo ps.

ORIGAMI

,

:;.

:- 17 On the left, fold in the edge. ,~ On the riqht, unfold the trtang~e:.

, . ~.

1-

,~ ,. ,.

18

Fold 'j on:' h.n 1][ 0- e- Cgen '0- rio th Ie

_ ,', _. _ .. '61 ~ t ,- ,:;) o.J'~'!,.d 1,-. II 1 """

~.

~ right,

, ,

"

~

".

,. ,.

::-::

,

- l' 9' Hold tightly as shown on the left, Pull the ~

paper outwords then i"r~~-~~ upwards, so fhotthe inner

layer'S inside the 'belt' are r un rolled into view"

-

.,

-~-

"

~

, ,

, ,

~ 20 The Junk is complete .

. ,

Strength en aU th e creases.

,30

E A 5 T E R D E 5 I G I 5
.
.
.
.
.
.
. ,

O~'~:~~i~h::~~I~a~:~et:~~~, ft~rt:ea~~'~-i~~1i~~~~n~f :~:~~~ ';

some .. · 15:-:'O~'O-' Y···'Qor4'Z' O.g·: '0'::, The L9,S··.~t·_ 1["','0· mtern po :"''''0'' ry:".:::: d esiqn S" reveol q r ' .,.0: . I ities ..

_ _ . .., \,;.< .,' ~ ,.., , . v Uv. . II I...... . r., ., v ".. ,. ."_,,, v.. . U . I I .

.. . -

_ -

:. 'typiC011 of 0 rie nto i 0 rts a nd crafts - eleq an ce, styl izoti 0 nan d, 'i'n de _ -

.;.: -

~ slqns of living creotu res, more regard for chorocter than for form. The, ~~

« wide ro n'gle ol b,e,aut'i"fU'~ pia pe rs (the country is ren owned for its po pers] " d often mean that more ottention is qiven to, the lool: of a desiqn 'than '~ i~ to its sequence of folds, so that the artistry lies more in the relationships between the.:··:·· pop ':e'~' r the subiect a,' nd tho rncnpulctive fi'n~s:::s:··.~ 0, -f th~, :

" _ _.. . . ., f _ v ,u. ~ v _ .. . . . _ ,v ,., , ,I. , U , . " _ Y' '" 'v .... v ., ". v., ):

[older. 't'nan 'in the ballet of the seq,u8nc8" These designs = porficu.orlv ~ those of living crecturss by the greatest of oriqcrni musters, Akiro ,~ :~ Yoshizowo = are unccnnilv alive! [but, are almost unreproduceoble bV

we lesser folders who do not have "the spirit', Fortunately, thouqh, tor :. ~ books such as this, there IS 001 lorqe body ol 'work thor con be repro- .. duced by the lay folder in conventlonol papers.

In recent veers, a less emotive, more geometri'( style of 'T;olding has. : , emerqed, drcwinq not a Irttl18 inspirotion from the technoloqicol ~ advances mode in the West since the 1950s. The Cube end Stretch ~

~:

- 'Wall!{"1 r~: ~x.ai·m"p· ·II~S,· of th.s stvle. }',

- u ....... v ,.. [, v .,',., y 8. ;-,;;

_ Outside Jcpo n, there are known to. be erective 'folders in Hong ~.

f~ Kong, Sinqcpore en,d Malaysia. '

,CLASSIC

G' ,A M I

~:

,.

YOSHIZAWA' BUTTERFLIES

, , .,

s

.

,

" " .,

, Akfra Yosh.zowo is the single most irnportont paper-folder in the t

~ .. _', .' world. IHe was born in 19'11/ at 0 time when oriccrnl mea nt liftle

,.

~~ 'more' to, ,the Jo ponese than the mecho nical reproduction ,o'f a lew :

~1 urod:itionall desiq ns, a nd when erective oriqomi wos vi rtuo Illy LJ nknown, ~ 1: ,As with rncnv children, oriqorni became an obscrbinq hobbv oi his.

~ Unl~k8 other children though, it lofer became such on obsession that :

"

ot the ioge of 2,6 he left his [ob in an iron foundry [where he had f.

usefu~ly learnt the, principles c'f qeornelrv] to devote himseli to oriqornl. For a de-colds, he worked alone and In poverty, inventing rncnv new' tl designs and forg~ng his philosophy of erective oriqomi, ShorHy before ~

.; W,oridl War ll, a twist of fete brouqht him much publicity and on :, ~: lnfluenttol potron to quide him on h~s professionol co reer.

j . After the wor, Yoshizowo resumed his career, publ~shlng his hrst boo kin '195'21 esto b I ishl ng th e I nternofionc i '0 r~g ami Cente r f n 19.54 " ,. and first exhlbitinq ln Europe in 1955, Since then, he has received many culturn honours. and trovelled widelv, i'nclud~ngl several visits to the 'Wes.t where origami emhusiosts hove occloirned his. work.

Yoshizowo seporotes origami 'into tW'G kirds: 'recrecfionol' and ~ , 10 rt'. The form e r h e lo rge Iy d Ism isses as bei n 9 th e m ec he n ~cCl,11 rep ro;~ due 'ion of 01 desiqn to give an illustrctive likeness 0+ O! subject, but " f without expression or chorccter. Such desiqns include all troditionol :: and qeometric 'work and 01 most ,0,11 other modern creative 'work, frDm ;~ East or West To 'roshizcwo, these desiqns may be: clever, but they .' are without spirit, He cdvccotes an oriqorni whlc! reveols ,the inner .' chc rccte r of the su biect th ro u g'h the 'i nterp r8,ti've s ki'~ ls of the pc per: Iolder. M,ere svrnbolic representotion IS not enouqh: this folder must

:, have on empathy for the subject he is Ioldinq end the mcteriol he " uses (the poper]. I'i: this suqqests c philosophy thot is too oll-ernbrocmq : and too ernononol to be prcctlsed by the reader who 'wishes his ~

origami to simply be on enjovoble pastime, then it 'is O! measure IO'T' , Yoshizowc's complete commitment to his art.

~ However totol or controversiol Yoshlzowo's approach rnov be, ) ,t'here con be no doubtinc the quolitv of his work; the ronge and ) diversity IOf' which IS leqendc ry. I n po rticulor, his finesse w~th poper is ~ without equcl It is so exquisite as to defy reproduction by any other

~~ folder. Diogroims. carl a,nly show the bare bones ol a design, which ~ , the folder through dedico te-d proctice must flesh out and bring 'to I~fer

... "

, The buttertlies photoqrcphed here [which have all ibeen folded bV' ~.

} Yoshizawo and generously donated for use in the book) show a . ~' good c ross- section of h is work, fro,m th e ve ry s i' m ple 'to the very

CO'" ' .. mr ~,-: .•... b -.... t -11-1 bee , '·'i'f' .. -, III >. fokl a. d -The: s'i m pler a·,n ~:Sc C· -,0."- n be folld ed .. _ _ pi ex! . u. a eo U I!. U Y _ 0 _. v... - - v . - - - v I_. . - - - - - x

.,.:

by cnvbodv, even young children" Although they ore exornples of the '

,

~ • r. •

, -

" ....:

, .... .

. ~

. ,.

._... . . - _.'

. "

• 1

~ "

..

A

,. ~

,

..

3···"2'

.- .

E'ASTERN

E S

G

N

s

,

:- .. ~ .

. , ? , -

-, ,

' .

. '

..: .. ~

, .:..~ :f ,

.... _... .. .

-. . ,- .:-.. .. . ....::

-

.' -t:.,,--

-

. =-

- . ...,

- 'I:

-

...

I

t

'recreotiono!' stvle which he does not usucllv support; thev can be m,od€} tc Hutter when the centro] ridqe is depressed, bringing 'them to life and so eor~ni'r1g them a plcce in hi's renowned and charismatic teochlnq performances.

'The more complex ones show his enqineerinp prowess. 'Were this a Yoshizcwo book} the desiqns would be yet more becufilul. bur

"

weste-rn writers are n ot us u ally pe rm itted to, pu b I ish lh e Y,8 ry best of :~

his. 'work. II ndeed, visitors to his. horne-co m-studio 'in Tokyo sory tho! .. the most exlroordinorv of h IS pieces remoin unpublished.

It IS possible 'to conceive that a modern oriqcrni movement 'would ~ have evolved without Yoshzowo, but his genius has enriched the' art lor all time.

,33

C LAS S

c

o

n 1\

GAM,

'Y"""",·"c 0",,"1 S,,",·,,·,·, I

,_. _' __ ".. :." -':

B U T T

Z A::', 'W"''"''':': A:

",,", "" ""'" """""", ','""" •• ", ,""""""'"

R F L Y

:: H ~~~:~eb~h~h~n~;:~~~~'~~/~;e~~St~~ab:~~ ~:~t;;~~o~~!~t:I:~

t

out olterotions 0 r add itions. Th is ,blJtteJfly is the 101g;0 oi the ~ nternoticnol

: Oriqorni Center, which Yoshizowo foundec tc help spreod [riendsh.p :: and peace through oriqorni. The design is so well-known thot it' has ollmost become trodifiono!

Yoshizowo does not gli've the written step by step instructions as. , 'we have done in other desiqns, but by now the reeder should be: ~~ Inmilior enough with the dicqrorns and symbols t,o 'be oble 't,o follow r. h IS,',"··, j nsfrucnor S,'~".

:. ' "lI, " ,,",.

., ., ."

...

- -A. ~

,'-~ ~

.L.

.. ,._.

®

®

,

,

"

;

l:

.o.

. .,' -",.

, "

::-. ,", ","I

'~"'.,'" '~':- ,c,'

~""

..... ",

",'r', .. -

, ,

f

s

,

®

r ,'-

.. ,/

-

tr

I ••

B

(7~ \V

®

'",

E,ASTERN

DES1GNS

M 10..-:······· U N:"~

. . . .

">, .. :... . .- . . ".

A N···· D·····

. '.

, . .

he I'ate creator of th 1's desiqn, Seirvo Takegawa (Japan) I specie]ized ~n producing very simple desiqns for children, includinq many wonderlu cction tovs. Th~s little-known masterpiece is tvpicol ol his 'work: simple, poetic, cudocious and chorrninq, Perhaps 'it is like the troditicnol Bi'rd on poqe 16 ,_ more a symbol than .0 representation. Use a 6=--8~rl (l5~'20cm) square. Oriqorni paper is ideol.

, -,

,

.' 1...

Ii ,

,

, ..~

'_' , ," .".

..... - """'!""'II _ r.oo=. -=.. ...1" _, ..... _

~. ,,'1- ...... :,

...., .' . : , . ..._ . .r" .•

. L.

"'- ' '

1 Fold in half. Unlold.

~.-

_-

-

/

-

,

-" ' .

• . ,_. j.

I

. ,

, .

"\ -

\ ' ~.-,_ ..

~' .. -- ~.. ~ ·f

. '

,

. "'1 ..

1 , 1

.'. ...

2'·1

. . old down. he top edge a little

way, more on the I eft tho non the

,

19. 1'"

, , } ,

,..

I

I - ..

3 oun cir old the ro .. 1 corr ers - -::' - ~ - I so that. he verncol edges

-'''5 '. ouqht down ~eve·~ with the

:=' 'z - - '~ .~: l fok ,.

T F U J

H ESE A

, -iI!"I~ll!ijil_''!III!'-.'I·--==--ili!ll~.

-_ . . - -

I , /" ~ ,J

. iII".'=7":=LIiIll~._-.;,~~ilr1'.

.I •• ~".~'''''-''.· iii'II--

_. ,

~ .1I!!I_;f".I~·(J!i ~.IIi~.IIIi'~

5 Place mountains between the valleys. Pleat the cn:~oses, inclcdi ~ - th e orrg i n 01 h orizonto I fold ,

.... '"

, ~-.,-- ~--_ . - I-

. .

• • ,.pI

~ = - - ,_ ~. _, ..,... -- - -, ,_ I"

o I •• • r'~ • •

~-. . ..... ,..

" --',____,> J::',

~ --~' ~ ~~ .~ ~(=. .' ~ .~', ~ ~ ~ - I

- ~ - ~ ~ ~ - ~ ~, _. I _. r-

. . . '.

~. . . . .

-

\.

,

4 Divide the lower section into q uo rters. All th e' creases must be volleys,

6 Mou t Fuji and the Sea complete.

,CLASS

c

o R

GAM

YA C H T

-

There are many oriqorni yochts, boots and ships, but none ore as

simple or OIS full of movement as this wonderlu desicn by Jcpon's First Lady 01' oriqcrni, Mrs Iosbie Tckohcrno. Mrs Iokchcrnc has pr,o= duced many exquisite designs} pcriculorlv of onirnols (see her Cot

," on page 40) and ,Bowers. She has written severol books, some of "" which hove recenllv been trcnsloted into Eng1lish_ Use a o-Sin (lS= 20cm) square of oriqorni pcper.

1 Fold in the top edge one third of the \flay towo rds the die gone I ;i"'rl~o" " S"~

"..... v --v"

3 Fold it back along a crease

wh ich sto rts iust to the lett of th,€ top co mer and goes to the m id- point o'f the lower edge"

2' fold the right hand corner ocross 1'0 th e left,

,4 Fold th€ bottom corner across toO th e ri,g~ht_

,36

~--'

~-.

- o_.'

;,.

5 Mountain fold ihe bortorr corner behi nd

>

- -:', " ... - ~

-, •• .,;,.""'!'II ..

': 6 The Yacht complete.

EA,STERN

ID E S

G IN S

, ,

,

ETERNALLY OPENING

OR'GAMI

This. design is Step 13 of 'the Hoppinq Bird lsee page 22) 'turned upside down. lt 'is nothing more 'than "he classic Bird B,ass, [ornilior 1'01 a~1 experienced Iolders. W'hat makes ilt remarkable is that no one untilTokui Sugimu ra oi .lcpo n realized that' 'it could perform the cddlctive donee describec here. The lesson; of tau rse, is never to

,. disregard the tornihor in case it holds 01 wonderlol secret. Use 0 6-8in {15=20cm) of paper.

:
: :
,
~
: : 6 Transfer your hands back 10

o n- d B-': ond r'e' P' eot an' d' rep .' 4- d

. :, L ..... ",' '~:,. ~," 11_ · ... 6-_eOI an

repeotl Be co refu I at Ste p :2 not to pullA end B too far oport, or-ne paper vt/:i1II/stnop' and lock to look I [Ike Step 2 of the D,affodil S' em 0 · page 64,

3 ... like this. Continue until A and Bare toqether at the botto rn

I

\ \.

.... "

'1'

~ Hold points A and B. Seporote

your hcnds, rnovinq them outwards and downwords, aHow'[ng C ond D to rise, , _

B

4 he moveme t complete. Strength en the creo ses.

.:

2 ,., like this. Begin to bring A and B back tcqerher below C and D . , .

5 Transfer your hands to Cand 0 and repeat Steps 1-4,

C LAS S

c

c u B E ;.:
. he creo 'or of the Cube, Shuzo Fujimoto (Japan) has conducted a qreot deal ol research into the qeometv of folding, includinq .. imporlcnt discoveries about how t,o fold accurate polvqons I(pento- ..

qons, hexagons, and so on} from a squcre: how to divide an edge into accurate hirds, fifths, etc without iguesstim1oting'; and how to fold a one- piece solid such as a tetrohec ron or on lcosohed ron. If 0 II this sounds rather dry (It isn'tl], just enjoy 'fold~ng his Cube. lin porti-

..

culo r, eniov S 'ep 5 ~ surely one of the 'best moves}' in all oriqorni Use ..

a 6-8in (15-20cm} square of thin or medium weight poper.

-

-

38"

! _:

.

,,1

I •

... ---

.r,:

ICarefully divide the pcper .. into quarters. horizontollv and verticalllYJ to creole 116 squares .

. ,

II

~ ... i~ .. ,"""i~~. -L- ,: .. "

. ' ,

flo

•

" ii'

·iii Ii

.. _._ J . _. ~ I .; . ~ I ~ .~ =

. - :1 ~ ~ -I

l' ~ [I

[I . i [I,

I - I -. 1

- -,- - -1- ~ -1- - ~,

• I

.. '"

, "' I

-,I

2 Re-crease the creases to look Iii ke the pattern of mou nta i - sand valleys shown hen8.,

..

j
..... '\.
-, .,
.... "\
.... .. .....
...: ....
..... .....
,j
:'
.... . ... '
, -, ...
..... '\
, "
" _J" .... . " ''\.1

.,

~---.

" ~ "

r

'" .. , .. ,

" " "

...... ~ .....

"\ -,

'; ""-

» 3 A d eight short diagonals. Be

-

precise.

:
:
, ,
r \
:
: :
,
. /

E A S T ERN

DES

, .

II., _. \'1 - A --~V

I~'~'~,~ '\~: ,', ~. -;

, ' -, ~ --:- ,~. >~

r - ~ ~l'; B ,,~:- .~ ~j"~/""~

I _t.,

..... . .

, ,

,~i----=--\\~~l~

___ .

4 . YO~OIL Note squares A and'B,.

B

( .:.

r .s > .:

f

~

5 Hold as shown, Note square A at th e front (lind B beh i nd. The oi m is n ow "to slide .A up ond ~'O the left so thai" it exactly covers 8" When this has hcppened. the paper w~'11 have cu rled i nto -0 cu be fa rrn. .AII o·f the rno rk e'.': d creo ses m,':·:·s~'fo:wm deonlv

.. .... '" .. UI ,... . v '.

end simultoneously. There j's a

k . - -k 0 thi - J slide' so plec ~e tr "ii-,

nac •. , '1- ',IS S I> t '~,. '~:a6.: ry Iii

severo I nmes

6 ...

1 Tuck th 8' fro nt sq uore inside to

lock -the top.

, " " "

~/'

r, /

,/ .. ,"

, . '

/

, 7 Turn Over,

8 Fold in the corner"

..

v

- ' I

:1

:~ .

: 9 Push in the next corner to form part of the Ilid.

/

G N S

~ 10

Pu·,s·'h In ,the", n' ~:.} ('0','"'-: .

. , .. ... ~XII rner" . _

, 11 .. , and the next

" ,

. ,

,r' ~. I I \ ..

: ...

'; 12 Tuck the triangle inside the cubetolockthetop.

: 13 The Cube complete.

,CLASSIC

o R:

G A t\/l

C " T

' .

. .

AI

[[Phi's is another design by Mrs Toshie Takohoma [see also her

I Yocht on page .36). The cot is regarded by many creative folders tOI be a very drffi'cuh subierr to capture in paper, because its shope ls " very simple and curved. lin the opinion of the outhor, M.rs Iokohomc's Cat is ,the most successful version ye't ochieved, be'inl~' vvell properrioned, full of chorocter, instontlv recoqnizeoble and plecsinq 'to fold. The design benefits frorr b,eing mode [rom a textured paper such as

In 9 res (' Strath more} J 0 r a nothe r a ppro p rio te po per, Sleg i n with Ste p .3

.. of the Bird [see page l6L usinq a &--8in (15=20cm) square o,f paper as in that desiqn.

7 Squash the point, dot to dot. Reve-rse Ihe ~ail.

,

B

"

\ . '.

. .

.}. ,

. .~

"\:

1 Fold he short edges to the

2- I

.. " Narrow the co-rner ot the ri.ghl,.

~: Keep th e corner as nee t as possible,

. 3 Fold in half. Note A and B.

'Ii

. / ....

-~ _ .•• ." - iii

.. ..,

4 Reverse the blunt corner along

AS t'ha-

.. I' .1 en . , ,

5 .,. reverse it back up level with open edg e. Reve rse th e sh a rp corner to he position shown in Step 6.

. _

,

:, 6 Vailley the front laye'r at the left : [across 1.0 'the riqht, so tho the~ point' ._ stands upright. Turn the sharp poirr _.: inside out.

40

8 Tuck the pain inside "he face, folding dot to do'. Reverse the roi].

9 Fold the ears forward. Reverse he h~nd leqs .. Outside reverse the toil

E

A'

,

E

R

NI

D

E

s

G

N

s

1 0 Shope t e nose, Fold the top

Of the heo '. d b ehind

,o,~ "" ~ . "

1

Fold up th s· eo rs,

12 The Cat com pie e.

41

CL.ASSIC' ORIGAM~

NCENSE BURNER

'- r- I

" .....,.,__ 1 .

. ,~ -. .....

I

, r .

\ ,}" -

t I

I ,_ :" .

. ....,

,#," I

......

.# I

,,-'

. ,I

t .. < : '

! ~

1 Fold the two edges meeting 01 A to th e centre crease.

~

of' j.

2

I

, Unfold,

, . ~ ~ I

, ~~ ". '\ -:.' .

" . ~ ,.

S-~

, . I:,

-. ....... -s:

3 Repeat with the other two edqes meeting ot C.

, I

'h,e Reverend Philip Shen {Hong Kong) speciolizes in crectinq g'90metr'ic designs whch collopse into shape from a ccrefullv .,

"

loid out pattern of' pre-creoses, The I ncense Burner ~s on,€ of his finest

desiqns, porticulorlv because the 'final shape ~s conjourec from a very fa rnilior pattern of pre-creoses ,- the kite she pe in Step :2 ~s .. known to a I ~ po per -fo I d ers l' yet si m p Iy to repeat ~t, on eo ch co mer and add the centra I sto r sha pe is enouq h to create a bee LJt~ful desiqn . Use a 6=-lO~n C1S-20cm,) square of medium we'igh,t paper.

A

; 4 Repeat with the two edges meef ng at B, 'then those meef ng ot D.

42

~ ."

B

IE

D

D ..

, , ,

5 Fold A to E, E being ot the end of the u pper creose [mode In Step 1. Crease .only wheng sh own,

...

r
....
•
:.
.,
:
~:
-,
;~
.,.
,.
,
: ~
;?;
~ ,
~ , .
. !" ~
~ .-
- :.:
::.::
, . • ">.

~

..

...

E

B

c

-

'1"\-~_'_,...... :"". ,. " j '. \ . ~ ; 7/,..----""'

"'...,. ... ----,. .' If v -., \ . ?"'.----:- ~"i

• ~.' ..... , r. ~Ji"'-;~ [ ... ; :

,- \,-,~/ r: <-;\.-~"/-" .' ~/- ~--

\' .~/.~x " -'-, . '

I.: r" "';'--." ~." ....... • • '-

. . .>, .. ~~-. --../~", "' ~ '. ,~- i

. .-.-"- '. '7"', . -' . \ ,-: .....__

..:'_-. ~ I . --. . . - \ '/' i-.,.___

, .. \ I",· .0,' . \ ~ "

r .' I . '\ ". \ . .r- \ /:' ,',

':-.....- ,( . <: y\ ~ ......... ,I', ,-', .,

! . ...::; J, \. '-

/ \ _ . <, :. \ ......!- _ L -» _ P' t:

I . 1 . <, '. '

. \ \ " _ • _t '- _ '""1;'

,~

\

'\~ .

'j' .

,I

\ .\

;

6 Repeat, folding A to F, F being

a-I the end of the lo'wer crease mode .. 'in Step 1.

B

, A,

:- 7 Repeotwith Be and D, rnokinq 6 more' short crscses.

- 8 Re-creose the octagon with " mountain creases,

A S T

D

s

,

E

R

N

B

'9 Fold in the creases as shown.

[D

c ,.

D·'

,

1 0 Reverse A along existing

C r[~ t"'1l 's,: [e" 0, S~"

. QU·_'·.- .. II !II I'

1 1

... 1'ike this. Ium over.

4,3

N

s

I~

"
-,
_.
~ ...
.,
..
:
D
[I
.. 12 Strengthen the inner star shcpe with mountoi ' creoses. I

., back over and repeo' Steps -= - 'w-ith B C -0 d D, fr,orming 1- ree n

.. leqs,

,.'

"

c

3 The Incense Burner complete.

CLA.SSIC'

OR,IG,A,M,

T U L

p

AND

Here' 'is the iirst two-piece design in the book and one of the sirroles: and rnos! oppeolinq ol 011 oriqorni flowers .. Its creator, K:uni'hi'ko Kosohoro [Icoon], has wri"tt,~n over 100 origami b,ooks~, ~ncluding some 'in Engliish ,_ which 'feature his own prolific output To make, the Tulip and Stern. make the Tulip sq uore holl the size ,o'f the Stem squore. so thor (for exomple] if the, Tulip 'is mode from a ,4in (lOem) square; the Stem IS made irom Gin Bin (20cmJ sc uore. The Iulip beqins with Step, 6 of the F~OIpp~ng B~rd (see poge 22) turned upside down and ,the Stem beqins with Step 3 of the B,ird (see

paige 16)"

3 Fold the open edges to the creose, Repeat behind

1 With the open comer at the

,to P r fol d the front corners 10 th e centre crease. N Ot'8 that th,e creases toper towards the, top. Re'peafi behind.

• .. I ~

• .. ~ I

~ I"

4 Fold over along Step 1 creases. Repe'ot behind,

2'

," Ir

,,' Unfold.

4,4

S T E M

5 With I) pair of scissors, snip off thetip Snip of less than you hink you should - the hole can be enlorqed with another snip, but

co nnot be mode smollerl

, ,

6: 0 t

I pen au,:.

..

,

7 The Bloom complete.

E A 5 T ERN

DESIG,NS

STEM'

I' .:

J _', ,I

- 1 Fold the short edges to the centre crea se.

"

"

2 Narrow the bottom corner .. Kee p i·t neat.

•

3 Fold ir half, dot to dot,

.' .

~

.:!_ -.

,

' ......

r' I I

"r • I ..

,

I,.r~:,. , >

,

,.- ~

,

, .... .

.. _. " I'

'.11

.' .

.

.. '

'[',,', ... ~ ~

"

...

~ 'Y

41

purl he sharp point out to the

.. dotted position. Squeeze the pape·r ,. flat at' the bottom to let the sharp point retain 'its new position,

-, 5 The Stem cample e. Insert t - _sharp spike, into the base o. t ie Bloom.

CLASSIC

OR' I G.·.··_- A···· M.····.······ I

_ J _ ., •

IF 0········ X-"'-

. I . .....•....

,'., :,' """

_~ "~e s~liwtl?n typica~1 of Japanese designs is shown to goodeffed

:. 1- m this design bv MlltSU8' Okuda. Whafs more, olthouqh ,the front

and back ,0 re iolded d'ifferently ('the tai'~ ~s to one side] r the design looks good from 011 angles" The heed Is a particularly interestinc feature oi the desiqn, beinq so remarkably simple" Use an oblong of thin or medium weiqht pcper. twice as ~ong ,as it is wide, for' 'instance

4-8in (l 0-20~n). ,-

.-

~~
-,
J' ,
~
~
c
-
J>
:;:_
~
_:.. ,~
~- ~
- ~
,
,~ ~ ,~ __ ~ ~ ,......,...~ ........-_' ~ '1111!!!!!1!1 _ ' __ ._~ r~ ~

I

5 Outside reverse.

-=::

~

....:....,. ...... "'c ~ 1 ,-~ ~, I~ ........ :_, liiiiiiiiiiiiir. ~ ,~ .~ - '.

I,

I

1 Fold the long edges to the

--
,
!
--
;
,-
,- t 6 Pull DNO layers across to the leh f, to allow the centre point (''the· nose)

to rise, Outside reverse on the riqht,

QiS shown.

, ,-

-, ,-

--

. 7 Mountain the tail. Fold thelefi

,-

~ d th b L

eo r <0 rou n- . _e' .aCK.,

r --'"

>iIi'-

; 1.1'" ~ - LL_

--2'

:: ", ....

- . '

- . ,

. . ...

• .:. ," I

Reverse twlce at 'the ~e,tL

..

, ,

r

.. -

3 Moun-Din fold in holl.

4 Valley fold.

46

E A S T ERN

DIESIGN'S

. .. ..

. . .......

..

. ..

. ' '"

:

()

. .

'**

8 Narrow the tip of the tail. Mountain fold the to III behind"

9' N arrow the 10 il. Pull the ears

f d

rorvvar" ,

1 0 The Fox complete.

, "

47

CLASSIC

o RIG A M

STRETCH

Ii ~ ~: n
1 il n
I ~ <.

I

I

.1'

II -

1 Creose accurate quarters, all volleys.

t 11 ~'
;- j' 'I,
II, I' .II
~
I ,
I
,j' I I
i: --~- __..
J
'11 I 'J
~ II
I 1 2-

... ' Crease ace u rote ,eig hths. a II

V· '01 I °y··'s

_ ·w .. ·. '}_

3 Place mountains midway between the volleys, Turn over and rotate th e po per.

W' Ac" L L

:'~'"

. i.

, ..

,",. J -

The bastc.· Igr'i'd made 111 Ste.,p. 6 con, with the addition of diagonal creases, be collcpsed into any number ol geometric potterns, some very complex. This design bV Yoshihide Momo'f,an~ of Jcpor is

- 1: t- h t - . h" b· II, . th t - Of d d

one 0"11' e mos cstorusr lng, .. elng €lostlC =' .. ,. a - ilSt I'_ can expono on:

c a, II I opse. Also! wherecs the front is 0' honzontol pcttem of bricks. -r-he reverse shows the same pattern, but verti(.a,ll'y~ The design is not d ifHcu If't but ti m e -consu m r n g'. Fo~d' ,th e 9 r~ d ve ty co refu Illy and the late r folds w~11 +ol~ into place. The Iinclunpickinq' of the edges in Steps '18-

'2· 0 " t· ddt" I' U IL t f +- h .

...... IS a very pre ry ono oromo rc cone usion. S8' a sneei ot rrun or

medium weiqht paper ot least Bin (20cm) square.

I I ~

:~'!!I!!"!!"'I!!'~-- ~ =. "= '~,~l = =~_

I I I I : ' I j I I I I· I I I .1 '

----------- ........ _-- --

I r I 'I I L I I I r . . I I I I

I=r-I-(~I-I'-~-'I-I·-I- r~ I-I-I-r -1-

:~I-I-r-I-,= -I=I-I~I-I-I-I-I~I-

.-.., - - - - -,_ - ----. - ..... - ,_, -1"-

~ I I I I I I i I I I I I I ~-.... I -1-1-1-1-. I-I-I-I'=J-J-I-'-'I-I-!-I

=I~J=I-I-I-I=I-I-I-;=I-i-:-I-f-i I r I-'-I-I-I-I-I-r-;-r-I-I-I-

'-r-'I-I-"~I-='I-I-I ~I ~I-I~I -1-:-1- -I~I'-I~r-I=J-I=I'~ 1-1-1-1-' -I-!-'

-1-=1-1-1 ~ j-'I-J ~I'-I-I-I-' I~ 1'--1 -:-

~I-I~I-I-I~r-I-,~ -I~I-I-I-I-I--:- 1- 1- ~ -I - ! -I ~ 1 -'1 ~I -1 --:1- I -1-1 - I -

- ~ - J ,- j - I - I -I - (- I -I -I - , -I -I -I - I ~

~I-I~ J -1- (~I-I- 1-'1 ~I-I- '~I -I ~:~ -~-r-f=I~I-I-I-i=~-I-!-r-I-I-'-

~-~.----.--.~~~- =~-

t ..

- ----.----~~~-

- I

4 Check thot the lop crease is a volley (fr ~f isn't. turn the paper over so that it is].

6 ... to make this grid.

t II I ~
1 ~ II I'
~ ~ I.,
I
I ,1
~~~ ---

,I .
~
I iii r- 'I •

I

I

~ '-

A iii,

I

~ ~ iii

: ~ ~~.

;~~ !._'I .. ,

~ .. -

J I .. .I

I '_

iii,

il ,.

1fT!

I j I: ']

II iii, ~

: II

II

~ I Cti~:

I I

1 "

~ .

--~--

--,~-----

- __ ll~_ ~~-Il'-~

I I

5 Repeat Steps 1~3, creasing valleys os qucrrers and eiqhths, then mou nto ins in betwee'n .. ' .

7 Ma ke elects where shown ...

48

E A S T ERN

~ ,
.,
. 1, - I I ..
I l
~ '1 I'
"
,
: I ,
I
I
I
I I I
- I
I
I ,
, ,
I I
I I I
I
i -I' I
,
I
~ I U 8 ... like this. Turn the paper over and rotore ..

. 9 Pleat again.

DESII'GNS

I[

_ - -'I-

.. r

I

,

"

-

"",=-- -

_._

~

c

I

_~-I

I

I

I .

12 The swivel and hidden diag 0 no ~ creoses (om plete,

] Af

~ .

- ~ ~~. !lS'-~

I ",':-.

1~~~2-~ .'

- IL_' -;;;;;;",- ..... -' _.........-~' . .....:ii-~. " ~;:.

C

, 1 0 The pleots complete. Note A B and C., Fold dot to dot; so that the

.-

.' :.-

. 13 Repeat 'he swivel with A D and E,

c

111 ... like this. Noie the dioqonol creose which has to be m ode beneath I h e ve rtico,1 pleot to cccornmodote lhe swivel

,49

,CLASSIC

" ..--
r I l~ I ,Ii'
~ ,. I
~ ._ • .. ill 'Ii! :.._ ~ .... _ I ,i I! ... ii ~,
r I
I
L_ , J
T'.;.!.' _,
v, -~. 7 r ,
". I I
':'-'
~ - ..........___ - ,~ -==-;- !
~
I - I
- --
-
,. ..... '~
- '-
. ~ ~ .,............ -
~ ~ .~ J ,
~ ~ -
,-
'J "
,:
I I ......_
- I 1
, -
, ~, ~ i
I -
~ _. _ ""'==-- T===- - ~ -
~ .' J
I J J ' f : . >.....;_ ,
~ I', .. 14 Repeat down the centre, SW'iV"ISII:i Fig the pleat u pwo rds to lie I,evel wi h 'the 'top edqe.

, "

I

I .

I

15 As before, diagonal creoses

'~ ed t,'~· be m D- d e~' beneoth th e. nee 0.. . ..... _ ,.

verticol pleots, this time one ot each end of I h e s\Nivel"

16 The swivel complete. Repeat three more limes down the centre, then iou r ti mes down th@ left he nd edqe,

o R

GAM 1

~ -- J , ~
, I I I ~
I
j
I'~ ------ - ~ ~ - - ",--'iooI
- 1 I I I
,
I i
- ~ .~ ,
_ -
j .r
. - t t I
- "
~ ~ ~ - - - ~. -
I ]
, 1 .~ ,I I
L' J
.~. " .
- ~ , - -
., rr -!'Ii
r I I '~ .
"
_ ' ~ - - _
~ - - -
F I I
.
I
- ---. - r _ -
. ; , .
I f , t
- _ ~ ~
,_ ~ 1- ~ ,
, '1 , 1 1
'1· .. , .I~ I\~
,~, ~
."-_ . , "--- . 1 7 The swivels complete. Turn over, .. ~

.. '~ I
oj; .' ,I ,I
• 'I '.
,
"' , Ii ,.
- •

!I

'I

t. .. ~

- ... -- ~,.-~

4

..

<Ii !I'

,

10

I _

.~ _I

_ I HI'j'-

- ,

j

I

• ~,

·-l.-_

I i ~ J \ i

r I - _".. I "1

-- -, - - _!

) I

_1_,1

" - ~

! I

~ I

20 ... like this. Repeat,

un buttoni ngl rno re edg es to reveo I a reg ulo r brick pohern.

I - 1 ; r '. 1

- -, - - ~ -

~_I~IF' ~-l ..................... r_ ...... j...........ilI.'IF : 'i

I I 1 I -: IG' ;1: !

I . - ! ~ ,

(!.-: j - : I ~ _'1 _, f - I-(!I H-; ~ 1

.............-.....jil ' ! - -.

I - ~ If,'J j ( .. ; II :

18 Note FG and HI. Fold edge GIH across to the right; so that G, sepo rates from F and H sepo rates from II, . "

-

I

--~,

I - I

I ,I r

19 ... like this, PuH out the paper beneoth F and I, so thai' edge G H co n flo tten 'to the f'i' 9 hi " ..

50'"

.,

I':'

21 The S retch Wall complete. Hold opposite edqes end pull apart 'to.··. cpen the bricks

. .~ .... v . 1_ 0.

5 T 5
W R N D E I N 5
.
.. . . . •• ._J •

.. "", ..

C rcctive oriqorni in the West = as a creative movement, at least·began in the 1950s. A surprlsinq number of trcditionol desiqns .. were known before that time, such as he 'triangular newspaper har

-, and the paper dart, but tJ'he: erective potentiol of the crt had no" been .. ::~ explored to any depth. In the 195051 a few key books, exhibitions and - T\I proqrcrnrnes established the art!' since when it h[QS continued to grow ond diversify, perncps by now surpassing even the Japanese

.. for i' t1 n ovotio n .

There are now' monv styles [oi: foldinq, erected by enthusiasts who . To'~d tor rnonv reosons: tor some lt IS 0 decoro nvc croit. or perhaps a :~ form of puzzle solvinq, for othe-rs it is an explorclion of qeornerrv, a : w'oy to relax, an oic 'O[ teaching or sirnplv because the poss.bilitv 'of

.; 'f'a,lding a sheet of po per into [0 recoqnizcble form i's o n extroordinorv ..

h h L. I f I I !.':

. p enornenon wr ich rare y oi s to, amaze or pieose.

The designs i'n this chapter show the preoccupation o'f mas western ..

erective folders wi h enqineerinq and geometry)' roiher than the ortistrv .. : [of the ecstern desiqners The-se desiqns are complex (some fearsome-fly ~.. so} but for reosons of spcce, few are included here. lnsteod, the,

.. chcpter presents some of the simpler clossics .. For those \NnO would

like to [old complex desiqns, many can be, found in books published In the United States by Engel" Mantro!!, Lang and We~ss.

CLASSI

'-,

,

I" - "...

~ , . . ~.

~ "

. ~--

1 '.

..

.

. x :

..

1- ' •

,

. . ,

~'

,

~ ... . ~ i-_ ...

. ~. . , .

• • ..... I -. .. '. ...: ..... ',..

- . .

.~ ~ -- .'

.;. ." . . It., .

. ".

',: . , -_.

: 1 Fold in the top and bottom

.,

,: co rn ers to the pas ilion shown '1 n

,

.. Step .2,.

-.

, :

.. L .r " : 10."

,

r _. _. I

..

-:0::

~, 2 Turn back the corner triangle.

-

, ,

"

_./!I! . ,

. ,

.1 .

-0:-

.. . I I

. , ......

. ' .. :

.. ': "

.\. '.

-

...

"

3 The Arrow complete,

c

,

o R I

GAM

A R ROW

... ·s

orne desiqns ore so simple end seerninqlv so obvious thct they

~,

. a p pee r tc hove bee n t q iscovered', tether th 0 n J created I. lit is

olrnost as though thev were t'hens all the time. TOI see these' desiqns in , 'f1he paper derncnds on oriqinol cpprooch. not rust a reworklnq oi iomilicr techniques. This desiqn by Tun Ken Lamb (Englo,nd) may not be to your teste, but its ori'ginol:ity is stortlinq, Use a square of paper ol a ny size d ifferen't,ly colo u red on the two s'i des.

, ,. ,

52

WE:STERN

DES

G N S

I'

'~

..

" ,

S NAP

H E X·'· A" IH E D R 0" .:. N

I ;\ .. \ I .......) ....• .." .

,

H exohedrons are common in oriqorni, This one [by Edwin Corrie

:.~ ... "', {Engl'ond l is one of the slm plost end Iectu res an interestinc ~~ ,. move at Step 5. To make the,3 x 3 grid of squo-es neede,d in Step 1, ~ .. fold 01 4 x 4 qrid by creosinq helves end qIJ10r erg, honzor-tollv and ~~

, verticollv, then cut off a line o'f squares. olonq two cdjccent edges to ~: -~ leave 0 3 x ,3 gri'd,. Use a 6in (,15cm) squa re ot poper. La rge squares

. -'II .j,. , ; - t S-' t· e p 7

" Wi n'DII snap 01'"_:.

, " , .

..

; 1 Fold the vertical diagonal as a mountain ond the horizontal dloqonol cs 01 vallle'Y.

3 Similarly, fold dot to dot. Unfold.

..

,

. r'··

···_I'~· ,t/·,··i :

. ~" '" . II ,

. ~ I [ '. b( - .

I "'! !III .... J '. .

. . . I '/ I . 1 -: '"

-, ' J:.J\I~<·

- .

"
,
"
..
. .
. - ..
,
" ·4

,. .,

Fold dot to dol'. Unfold ..

A Y

5 Outside reverse the top and bottom corners.

..

::.

~ ,

'.

~, 6 Valley fold the op corner i I t th e pocket formed by lhe lower

~,~ outside reverse fold. Then,

~.. - I

mountain the ower corner imo ~ .~

upper outside reverse iold. be' j- ._

7 Hold as shown and squeeze, The Is,f" hand corners will sepor ne to creole a third edge 01 ound he middle, [orminq a 3D hexchedror .,

..

~~

8 The Snap Hexahedron cornolete.

.n-"

o R

G A ,M

T H E

U N

-

,~ 1 Pinch the mid-points of the four , edq es ~ Use them as a quide "to

, mo k8' fau r volley Cn~Q:S..t3S a long the : horizonto I ond vertico I qua rter

~ 'marks.

2 Make mountain folds midway betwee n the vo Iley quo rters a nd the edges.

3 Form volley diagonals otthe co rn g rs, 1'0 (rea 'e a box with

'tria ng u In r flops.

c

UNFOLDA

B

B 0'· X~··

I •••... ..·..i ...

.... ".' . r '.

L E

~ B!oxes OJe the most common subject in origami. Sorne are very ~~ complex and emote, whereas this er-e by Ed Sul~livon (USA) is : IpO rficu I a rly plio i rI. However i th B fcsc j no tion of th r s dies j'g rl is in the

foldtng; because once folded, it cannot then be unf'old,edl at' least not , without making extra folds ,or fumbling w~th the pcper. It' is un'jqlJ€ in origami end a remarkable desiqn. Use a lorge square of medium .. weiqht pOlper.

4 POint fwo flaps to the left and two, to the right. Fold the triangles in hal'F by turn'ing the loo.se corners inside,

5 Fold the triangles to the inside, flot oqoinst the box.

,

.,

D

6 Collapse, bringing A down to ~ C and B down to Do E and f move

.. rewords ,the centre ol ih e front edge. Repeat behind.

.-> , ,

., M

, , , ~ .,

, 7 This is the shape half collapsed

8 '" and here fully collapsed, [Note E: end F.

.~ 9

c

H10ld corner ,AC as shown. Pu~1

i \four hands gently opcrl end IH will shde away from G " ..

w

10

. like this. Keep pulllnq .

E

E

D

s

G

N

s

.

R

N

E

s

T

11 . until the corner is fully

formed. Re'p'eo, at the other' corners of the box"

12

The Un-unioldoble Hox com plete.

55

CLASSIC

ORIIGAMI

F ACE

-

M ony liberties can be rcker with the shape of a face before it

it~ lii Bt-;bec:olmles unrecoqnizob.e, whicn is why oriqorni faces ore a

po rticu larly interestinq subject for creat~ve paper 'folders. Not o~1 the '~ [ociol feotures need be present This face by Steven Casey (Austtali,oJ ,_ : for exornple - does not hove a mouth. Other designs may only have

a nose; or iust the heir, or may be extroordino rdlv detciled, even sculpted-lookinq, The shcpes for this face ore strong and horrnonious, :i

" and the sequence i's cleon and flowing, Use o o-Bin t'115-20cmJ square oi poper w"ith dIfferent colou rson the 'fw'OJ s'des .

•

.. 5 Swivel the triang les inwards so .. that they m,ee . ot th e centre"

1 Fold the top corner to the left end right, corners in torn, pinchinq the mid - poi nts of the top ed ges,

3 Make creases 10 bisect each of the th ree a ng I,es on th s' triong ole r flo p. so that the flop cello pses to look like, Step 4" Repeat on the r'ight.

..

. ,

6 Fold over.

.\

I, \

\

j ,f

I.

~ \

'~

i I

,:

2' Make creases which connect eoch rnid-poin with the oortorn corner, folding the I,eft and f'ight corners ocross he middle.

< 4 Turn he loose flaps inside-out, so thot ~he.y cho nqe col au r.

7 Repeat on the left.

-".

.56

WESTERN

DESIGN,S

9 Pull the cheeks oport to expose .. the poir - t 'just reversed.

8 Reverse (or sink) the bottom poi nt u p inside the face, tu rn in 9 th e .. point inside out.

-,

:.~

.',

:
:
"
:



:
, 57"

,

1 0 Form three creases as shown to make tht(~ point stand upriqht . !, •

··11 '" like this. Squash it lat .

..

....,

12 On he left, fold dow i the loose point of the eye to look like the eye drawn on "he other' side of the face, 'hen fold it downwc '~ds=

B I U n .. t lhe no' S" G R~' '0 un d 0" H t 'G. c I ~'-I ,,~,

" t: ,_,': w. "," -']" v '

and heir

13 . he Face complete.

, 1 Fold the bottom left and fop left edges to the centre crecse. Unfold.

3 Fold in the three creases as shown, so tho t th e top corner stands upriqht " ..

c

o R

GAM I

ROOSTER

4 ". like this. flatten itto the left.

7 Reverse twice.

. .' ,-

,. .'

5 Repeat o' the boom, once more Ilorten i ng the· loose corner to the lleft,

8 Reverse,

.: -: '1- ."",'", , ~ T:i~e~~~~t~:~~:~ei~:,~;~~~S:J'~~d~ ~~~::s~ ~::~~n O~r:~: ..

.. -V' .... --

:~ c---:.....===--------:--~_· I ~,-,_....:.....___,,_-= ' a desiqn w'i h style and chorocter fr-om the very famlrar oriqorni shape

" ~",' . . , Y shown in Step 6 [sometimes celled a Fish Bosel. The deslqn when

. ."

., . , '-0.-: ~~ folded looks iolded, which; curiously; not o] oriqcrni does. A, design

which has cleo rly been folded 'without the need to cut or foldl pieces toqetner lis somehow' mOire sat'isfy'ing .. , Use a o-Sin (15~20cm} square :~ of medium weiqht poper, Creose land uniold both dioqonols,

6 Mountain the bo tom portion behind,

9 Reverse- Note the angle .

. 58

S G iN S
W E: S 1 E IR. 'N 0 E
.... , 12

Reverse 'the beck.

',

"~

10

Vcllev, repent behind.

11 At the 'left, outside reverse, At, the right, reverse. Valley the feet. Rep,€ot behind. The volley creoses on the f',se:t should be: ai' such an angle that the Rooster' can bolonce.

_'

I

13

The R.ooster complete.

."

:."

;- .. _

,CLASSIC

ORIGAMI'

P 0 p_

IU

. ," ....

p

,

DOUBLE

, ,he late and much missed Eric Kenneway (England) specialized in:

" creating' desiqns which were rnorvellcus to fold but which when ;~

complete, did not always look too' spectacular. For h~m) the j'oy' of ~ orlqorni was in the Icldlnq, not the looking IH~s Pop-up Double Cube

is psrhops an extreme example of his thesis ,_ j't has a fine sequence with jn!r~gulng" moves at' Steps 4=6, Step 1 '1 and the climcctic opening

ot Step 16, but the result looks v,sry ordino ry. Of 'its kind, 'it is 0 mosterpiece, USB 0' 6-8irl (,15='20cm) square ol medium weight poper .. ,

"

•

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• '~:'" <

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... '.. I.

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1 Valley the edqes to the centre creose

...:2

' M.ounto in the bottom co rn e rs

behind.

60

c U B E

I ~

, ' ,

""i

"i_ • • __ •

" ~

. - "~ I

. " . ,

~

I ......

... ..

, 3 Fold up The triangle"

,( , " <,' • ,

- , , - '" I

._ I •

'> ' '

" I

';,; -

,

': 4 Moisten you r fing ers for a

~: good grip end hold as shown. Pull ,:~ the outer lovers, slid ing them out to

the sides " _ .

5 ... like this. Flotten the paper by br'lngfng the corners together,

..

<

" ,

"

..

2 ..

..

~

'WE,STEIRN

DESIG'N$

, '

! -",

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II" ~

i """t

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~:

~ 6 The move complete. Repeat : Steps 2-6 ct the, top.

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7 Fold in hell

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110 _. /. ... ~-: I I

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l /","~ "

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Fo Id across to the rig ht,

I

•

'9 Pullout the hidden corner.

~ 1 0

Fold down the triangle.

.. "-:" ~ / I _.

/-

, ""

11 Tuck the loose triangle right

, ;i nto th e pocket, Keep i't neat,

" "

,

, .

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I' ",

14

Repea~ Steps '7-13 on this

"'"

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, ,

n side,

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. 12 Fold the loose corner up and to the I,e:ft_

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,

-

- I

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-

"II •

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15

Creosinq complete"

...... - .

-"

/

'j

.. . - .

16 Hold as shown and pullt e , central flops upwards and outwards _ " ,

13 The lei! side iS~O~ Turn over,

17 . like this, 10 form the

completed P'op-,up D'o ble Cube-

,MOIDUL,IE

..

,

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f

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L' /'" - ,/' • ;'

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. -. 1 -

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'1

Fold the lower edqes to the

centre creose.

I 'J'

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2 Fold dot to dot, as shown.

c

,

OR,IIGA,MI

'3"

.: r- .

. :- . .

'_ Repeo't, burt now with the

opposite edge.

I

, ,-

I" ~...:'

I.

. 3: ..

~ ,

- 4 Re-fold Step 3, butthis time reV8;fS8 fold'j n 9 the, lower r:ig ht

,. portion of the (T,eOSe; Note A"

62'"

,

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o ~~I~;~i~ir~~O~~i~:Si~:~i~~a~s~~~i:~IO~~t:Oa~:~~~:e~h~~.~t~~:~~

I DC ked ,to "fa rm fl at porte rns, 50'0 I id s 0 r sta rs. So me of th ese system s are very beounlul, perhaps. profound. This Star by Nick R.obi'nson

- {Englland) is very simple and pcrnculorlv elegant' ln its constructlon. lt , need not hove 5 points - ony number '9 reoter than ,2 w';illl interlock, For

,

a Sta rt use ct lscsl five sheets of squa reo paper, either all the sorne ,.

colou. or ell different. depending on your taste. A,3in (7"SClm} s.quare :. is a good size,

..

: 5 Pu III out A to the front.

B

6 Creoserwo valleys and a mou ntoin os shown, to give the module some shape. " ".

. ~

e,

c

:.:.

~ 7 ... like this_ The module is

. complete. for a Starr moke four more"

VV E S 1 ERN

DESIGNS

.)

ASSIEM.BLY

~

I :1,

I

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..... I. ,__.. .. _.

I

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,

2 ... like this. Tuck B into the pocket at C,

. 3 Repeat the locking pattern,

- locku 9 0 . other IS into the C poe er, Continue; locking the, filth module

I nto the first 'to dose 'the seq uence Of ~. locks and complete 'the Stor,

Streng 'hen ali creases.

1 Hold two modules as shown. INote points Bond C'. Slide a on the lower module under C on the top module, br-inging the two dot's

.. toqsther , ... ,

4 The Star complete.

-~

_--_

-~-. -~ - _7: ~ ..

::.:.. ". ~ - ~--

~_-.:-, _: - _.. -' oil •

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'_~~ .. _ ,~~;~: -. ~ .; .. ~;' .. ~~. .:

~- - - - --.r. :~ - ~

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.... L '-::' --~ :t:.:\

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•

..

C:

OR:IGAMII

DAFFOD L

H

~echnicolly, this design by Ted Norrninton IEngllond)is the most I advanced in the book and should onlv be attempted byexperienced folders, Compere it with the much simpler Iulip or-e Stem on poqe 44 - the two extremes ol style show how beauty can be ochieved .. by very different rneons. Note the 'intriguing method In Steps l-6 for ;'. fold ~ n 9 a n a ccu rote h excq or1. lPe-rs,'8vere with th 8 d ~ffiicu It } si n k' 0 t' Step 11 - prcctice w'dl make, it much eosier. Use a me-dium weiqht

vellow square for ,the bloom and a 9 reen square of the some size tor the stem. A lOin (25cm,) square wtll create OJ life-size bloom.

B C F
A ,
I t- -,
., . D'
»: - , - - 'G ..
r
>:5 E H
. '8 L O' ", '0' M' .

I~' I ' .' ',' . - . . ','.

1 Fold in half along a diagonaL

2 Pinch the mid-point and the upper quarter point, F:old the, mid-

:, point edqe on to the quorter point creo SE':"i so th ot th e new creo s€ ru ns exactly to the centre of the bottom edge" B,e very occurotel

c

6 ."' to reveal a perfect hexcqon I Crease m ou nto ins and vo llevs as sb own t cello psi ng them to make St€P 7"

A ~~~.....,;......;;;....._ ................

3 Fold the left comer across.

'II'

7 If the bottom edge runs straight across, turn the whole shope insideout to make the, shope seen here. lift F and squash " " .

,411'-

Cut oH thiS upper portion of

paper as shown"

5 Open out, ..

8 ... like this. Repeat with C D E G and H .. When squoshinq . tr to

._ .. _U .. r y ._

keep the same number of Ilayers left and rlqht.

\;VIESTERN

DES

9 lift point F along the marked creo ses (peta I [old] '.

1 0 Unfolld he Step 9 creases.

Repeat five more times.

,

11 Inver or sink the op corner down Into the body of the poper. ot the level shown. Open out this hexagon to do so I' 'then colla pse it bee k into she pe when the ri m of the sink has belen creased into a continuous mountain crecse and

"

the centre inverted. This is. 01 difficull,t

" end len_gthy p raced 1I re r even io r

~:

.. experts, so pe rsevere.

1 2 Tuck F up inside he front lover, reversinc some of the Step 9 creoses Repeot five, more ti m es around the layers"

13 Fold one layer across to t . e lelr, to reveol ...

65

14 ... a clean face. Fold up 'he - bottom rionqle, Repeat' five mon~ times oround t e' love -.~.

. _.. ..... y'G S.

-'

, 15 Fold one lover across ...

-

J,

16 ... to reveal a clean face.

Note that for clcritv, only ,the ro I "

lover will nQW- be drown. Creose a nd unfold as sh own,

17 Fold he corners up to e centre crease"

:
..
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, 18 Re-told the Step 16 creases, .. so thot the bottom porfion ol each

, creose disappears 'into the lower

: trionqle. I K .J

~ 19 foldlhe layer across. Repeat Steps 15-19 frve more t~ m es. Note I J and K_

. ,

~.

20 Note I J and K again. Fold K beh ind, so tho" I and J <0 re' brouq ht tog 9,th er on d locked" Repeot five more limes within the Bloom.

CLASSIC'

ORIGA,M,I

,.

'~ 2 ... like this. Flatten bringing C and D toqether.

21 Pull down each Of the six petols and reverse the rim of ,the Blooml to shape it.

,

,

'.~ .,

,

3 Fold the triangle in half below C, swivell i'ng B downwo rds.

: 2'12"'1

. ",' The. Bloom complete.

STEM,

, ~ .

C D

';p'

A'"

,

.. tp

r,"_ .s-

..

~

; 1 Begin with Step 2 of Eternally

. ~ Openinq Or'igomr on pcqe 37.

~ Hoi d os shown. PuU A 0 nd B srno rtly ~ oport. until 'the d~o'gonal which

:~. connects them pops into a riqid

~; rnountoin crease ...

i .~

e· 4 Note the position of B. Turn , over.

..

n

6,6

WESTERN

[DESIGNS

5 Repeat S iep 3, swivelling A down to Be,

".. . . ". ," ..

'D[C

", [-,"

. [I '.

~

o

.

, '

,

.

A 6 Fold a layer across at the frontRepeat behind but on the opposite side. Rotate lhe poper upside-

down,

7 Narrow the front layer at he right. Repeat behind.

" "

_J ,/'
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i V
, '
,
J
j , -~
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,
,
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,
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'~l -: 1 0 Reverse.

8 Push in or sink the bottom corner, Note t hat the crecse tilt's

u pwo rd at the left'. Repeal beh i nd.

-- 9 Narrow the flap on the left.

Repeat behind.

11 The Stem cornpiete. Insert the sp ike into the bo ek 0' the Bloo ~ -

C'ILASS'IC'"

, : .. "" .-' ~:. ,~~;. <.

,~ARCH ITECTU RAL

.... . .

Th'" t f· tl I d i t cesi lik th St 62 "BA.R, MO,DULE: SliDE

:,' b:c~u:~h:;~t~S~€:~I~ ~~ se~:IZ~ dlif~r~~t m~~~:s~~~~lock LOCK

together. The system is very much like a set ol children's buildinq

blocks" which can be put to"9Ie'ther In many ways. Make as many as .. you co n. 'then experiment with them to, see what you can [make ~ the photo shows 'just a few ol the possibilities. The system is Iby D'idier ~: Boursin {France). .. Use. squores ,0+ [medium weiqht paper. 4in {lOcm} : squares willi work well.

a,AIR MOD[UILE: END L,O'C,K

A-

.

B

l'

~ VoUe-y corners A and C 'to the

;; centre. Mountai'n corners B, end D ,_ beh ind to the centre.

..

~

.~ 2 Fold the edges TO the centre

'" crease, allowing corners Band D 'to " fli p ,to the 'front.

3 Crease three valleys as shown. Iuck the top edge deep 'inside the pocket at the: bottom} lock~ng the

m d I" - -t - - t - - - -- 1- - h .. .

:0- U ,e 'In 0 0 nonqu or S.I ope.

4 The completed module .. The protrudinq tricnqles can lock into

tL - d 1-

o J ler rno LJ es . , ,

D

,

5 ... like this. The chain can be .. extended inlinitelv.

68

11 Begin with Step 2 above. Fold ,the top and bottom edges 'to, The ce n fre c reo S €:.

2 Crease three valleys. Tuck th~ right hand edqe deep inside the pocket ot the left edqe, lockinq

the module into a trionqulor shope. Aillow' corners B end D to Hip out.

3 The completed module. The "prolfudi'ng trionqles can 'tuck into other mod 1--

i .. ' ~'. < ' LJ ~s . " ,

4 ., . like this. The chain can be extend ed i'tJlfj n ite Iy.

"

E

D

s

I

E

'" '"

,.':

69

CLASSIC

BAR, MODULE: EN,D AND 51-"E L,OCKS

I i,

. ,

, II '

".. ...1 _ - ~.

- "~

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1

1-, --:

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.------n---.. -"1 ~,.,

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(

riIiiiiiiii!iii. ,---,

". 1.,- .. ~ •

. 1 Fold the four comers to the middle.

v

"

,

,-

~

....

-.

_ 'J, •

:c.:'

.... .. I, -_

I ' -

,-

2 Turn over,

-

~

ORIGAMI

, "

, i

_

~, __ . ~

.•

f .> ,:

."

3 Fold the top and bottom edges to the centre (reo se, ollowi n'g

, corners. A and C to f'l~p out,

~, A

c

4 Crease three volleys as shown. .. luck the dghf edge dee p into the pocket to lock the module into a trionqulor shcpe.

:: 5 The module complete. Other rnodu les co n 1 nte rlock ot either end o r e~,ther side, or both.

70

.. FOUR~'W,AY JUNCTION

"

"

..

,

~

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......

.....

.. ' .... , :1'- iiI" 'v .. ' .

, • I .. ----- ..

• ' " .~ .. '...'. • I

I. 7 ~ ~:~ ~ .. '\.~ ~ ~ ~ ".1

' ~ . 1,4

..

I '.

'.

. 1 Begin with Step 3 of the End ond Side Locks module obove, Fold the, bottom 'edge to the centre crecse, a llowinq C to 'fl ipto the front_

. ,

, "_ - .. ' I

" r : ' I :;'

I r ,':.:.,

'< :'., !

, '

2- c

Fold the right edge to th,e centre. ollowinq D to flip to the front,

[D

c

.

': 3 Fold the top edge to the centre, alllo'w~ng A to [lip to the lront.

..

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'WESTERN

A

,

.. "

.<

J ~,

A C

~ 4 Fold the left edge to the centre, e< a~)owl rlg B to fl1p to ,this front.

,

Reverse the, bottom section of the

,~

rife' a ~e' C"O-" he -I

.. Irs-.'ll·.~"'~-"'.j.:-. ~'~:.-.~ ~ 10 iI

A

:~:: -=-;

e,

-::'

'I I

... ,

"" :;-- --' Iiii' -ii!iiii'~'"

5 c

, ,.,' the paper is completely

symmetrical around th,e centre point. Turn over.

6 Crease and unfold mountains ond vollevs as shown, aUow"ing the, centre to rise towards you.

"

,.

,

'.~ :.:.

DESJ'GNS

.. 7 The completed module. Each ~ protrud'ing module can 1nt'er~olck

~ 'with a n End Lock mod uie or Corner .. Junction (bellow},

:, CORNE,R ,J:UNCTION

" " , ,

A

,

c

1 Begin with Step 4 of the FOllrwoy j lJ nction modo le. Turn ove r.

c

.. ,"

D

,A

2 Form volley and mountain creoses as shown r to mroke ,the shape 301, Th,e centre sr ould rise

owords you"

71

" ,',

,

,. ,

" ~,

c

, 3 Fold the loose square inside

,the pvrorn id. Stre'nlg then ,t,~ e creas '

:-

,_, which run from the apex .0 cor

" AC and D.

:.~

" "

41 he (ample ed module. Eac protrudi n 9 trio ~ 9 ~e' con 1 n' err10c with an End lock module or a '", rway June "ion.

CLASSIC

:.

. A -

. . . . . .

. '. '. - .

B· ,:__ R'~'

.:. . ...

- -

KIN G

D

~: An outhor should not pernops include hi's" 0''- w ... vn work in 0'" b·· ... ook oi ..

. :. .,.' .', I .. ,- .... , :~ ~_. ,._'. ,'- <. _. _' .... _ I ,r.~':' ._._ ',-.·11 I' _'.',:', '-, I

~: ' '. dossic oriqorni, but I have to' say that this design gives me !~ 9 reel sotistocfion. ~ discovered the oc ion at STep 5 quite bv occidenr :~ whilst' plovinq with ",he paper and lookinq for ways to reso~ve the

; shape into on occep able desiqn. fr,om there, he hecc and tail just

l1 folded th-ems.,elves" IUlse a 6~81n (1S-20crn) square a,f thin or medium

r~ weiqht paper, dif.erent~y coloured on the two sides" Start' ot Step 3 O'T

!~ the Bi'rd on page 16.

3 Outside reverse fold, to the position shown in Step 4" Note A"

.. ' \

-,

,

-;

, ,

"

.-:

Nloun1oin fold in half.

: 4 -ullo t the internal layer at A

_

.\ 2 Reverse Iok I to the positio I ; shown in Ste'p 3.

- 5 . _ . like this. Repeat behind. / Make three reverse lolds on the :-- head (,the exact pi ocernent is

: unimportant'), P~eat the 'tail.

72

O G"

,:' ",:

1 _,

6 he Barking Dog complete. In this pose If begs,

7 To make if bark, hold as shown ond move' your' left hand 10 the leftend back, The head will move: up

and d· a ~ ~ s though bo ~k" I

.,~ '. .W· t os rr ,I~I ..•... r.lng"

.,

~

.,

, ~.

WEST-IR D-

R OW I N G

B

"

,'~ " his desiqn by Martin Wa~1 (Eng~and} shows an e~egant end

~ 'concise way to create a simple shape. Steps 8-9 ore particularly ~' p~eosi n 9 moves J no i ust ,for th e 'way 'th at th ey I oc k 'tn e boat into _ shope, but for the way in which the 'inside is kept cleon. Made fr'om , rnetollic k'i'tch,en f:o,i'1 or greaseproof paper i't wi] flolat. Otherwise, use ~~ a ~in (l5~20cm) square of medium vveigh poper

,-

" " " ,~ ..

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r- ...., ~, '~'~-' ~~, - ';.~~ ~', _", .

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r-' I~ - ~ ~:, ~ ~" - -:~.,~~,~ -,-';~ ':

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. . .,..

I • ~

4 Reverse the bottom comers, I,evel with ,th1e quo rter cr'sose ,.

:~

- ,-.

-

,

_',

..

~

1 Volley into quarters-

"

,"

,~ ~

,. ..... ' ~,

, ~ - • ',:11" '

,

ii:"'~<':"""i' "

_ ,r .

" -

'/ _ ; ,., --I - ~'" " ,,:

,~

.. "

:~

-'

,I

,.:.

~ "

..

-'" -

"

{.

,~ ,

- . ~ -, '-:"- "-. ..... _..:. . " .« . .•.. . .. .,. .

.... . - .' '.

.._ .. ~

·5

, , ,

"

r .: .'.

~':-

, 2 lurn in the left hand comers, ':, top a nd bottom.

I

4

'6

-

Reverse twice , ..

.', I

:' I

--.-~ ........

, ,

-, _"', 'I

. '. :... '!..;. [

• : ... 1

'_. ;,-t= .-w" .__ _ .• _.-

.~~ _. ~-~ . .....:;_-.- ._, ,- ~ ~ - [

-

: -:

/' • "I , ~

u .' 'I

..

"

, i

, - ,

,

" "

Fold in half

7 like tlu ~ old A o c ro 53 '0 he

_ " , II .'~ -- IS. _

ig h t.

~3-:

..

o

.

T

;.

.

"", .,---...... '.J!Il

-~'illi--"'" .1

- ! lji

, 8 Tuck II e nearside t .. in 0 the boat. Tok,e j' over - ~ A,I but not over Ihe "0

revs rse fold love rs at e r 0 '

"

.. "

9 ,. - like t is. Sill ilcrl I, ! -Id' - - 'far side fayer~ bul It is 11 - e . sro'ding i\ ove t - e r

~ow to dose it S - . L Flrre

botto ~ - L

10

-

~ e . Vll

('LASSie

,A,

/ ~ [ ,

('-:. - ,~' ~ , . '. - -.~\ ~,-" 1,-. ~ -"'-~J ,_.

- I."". [I· • ~ I . "

__ .. [~ - e ....... I I' • r i

. - '. ".- i ~ ~. § . - 1- s- j

I" _(~li' ,',_' I ' -_,'" :(' i'

..- .'.~ . , . ,..!

[ . '.. . - - t

. .. , II -...,. II'_ , ... .

I • ....-.. 'U· • ~ : ~ • II -' .: . ". -....

I • " _. • f ..; .' • • .. T • "'I • .:-- ..

'~, ". .. ,.... [II _ ~ 1 . ,,~,' v : ,

-: .... - ..... ',.;r" ) [I '/.&.

, i, \11' ',' ) ....... - -

• .~ \~ < \. ...... .' I~ :. :.~, ~, •

- . 1 /

._ T ... r!_'i'l . \rr" (._1 .. ".-"1. _,

B

! 1 Va !ley fold into qua rters N oie A, and B_

,A

, -'- ~, '5 -'

B

Vo Iley fal d into ,eig hths.

A

[B ,- 3 Place mountains between the

-

.. va Ueys, so that- , ..

4 ". the folds concertina

~ toqether. U nlold the, centrol crease .. AB ..

-

ROSETTE

, ,. ,

,

:~: A" nether design by the cuthor. The ideo is o development from a :: -', - known fan lock. but here done twice b,etwe'en Steps 7-110" once

... - ....

,. eilh e r sic e ol th e centre. Th e rest ,It is Step 11 I, wh ich wos th 8-D Io u nd k

to ! sno p r ope n 0 b~ ig i n 9 IV to hold a sotisfvi ng c i' rc u I a r she pe un de r' :,

»e

, tension. For storoqe it can be collapsed flat back to Step lOl Use an

oblong of' medium weiqht poper, twice as long as it is wide = for .. instance 4 x 8rn nO x 20Icm,)" ~

~

"

~ ~
:
y
,
., 5 Unfold the first crease at Each end of the pleots " . "

6

- -' I t

I ~, . ~ ~ " , , ""-

, " . hke thiS. Squash -the p eo. ,5

flat Iurn over,

..

,. I

'e -. -., • •

. . .1"

_ - ' l .

i~

", ., [I , •

I N. j

~ ..

," .. ' J

s.

.. ~ .

.i

c

D

: 7'

. ,

. "

- "

:-:- .:'

... ...

:.' [."'

Fold ,'n half, Note CD,.

8 Allow the pleats to cascade

open betw8'en ,A and B, but hold the ::, .. central layers. fl1at at C and D. A,t 'the " right, turn In the corner'S with vollev ;; folds .. At the lefT do the sa me b. t

,,--- .. f· .... , .... ,;.U

..

,

~I

: 9 At the right, volley the proiecf n,g pleat into the line of

~ pi eats. At the I ett, do the sa m ~I but with a rnountoin fold,

':,.:

..

.--

~:

..

~

1 0 Spread AS apart.

E' S

s

11 Make a srroiqht mountain fold connectinq AEB., Ih'is, w'dl 'sncp' the· rosette into i''ts final shope. Be

f (' J' rorce u 1

12 The Rose Ie complete.

75

,~-,-----~-.,----- --

• , -'II _ • ...___.- •• _.. _ _ ••• _... •

..

" <-'

:.: ,he very best origami is a marriage of technology and orfistrv. It

~~ rn ust be p I eo sin 9 t,o lold and tech n ico Ily a de pt. yet stil I co ptu re __

something of the character ol the subject The Rh'ino by Dove Br[~1 (Enlglandl IS 0 rnoqndicent exornpls of this school oi folding" Althouqh , the steps may be followed in a mechonicc' 'way up 'to Step 13/ the

" folder' must then use his judgement to complete the heed. "tad! and : legs in an effectiv~ rncnner. Much will depend upor the choice 101 --: poper, 'its size and the commitment of the folder. A. knowledqe of the

~, onotornv of a rhino would be Gif help if ,th~' complete-d sculpture is to -- be convincing" The paper wi'~I' be 0 personol choice, but the creator __ recommends brown wroppinq poper. Begi'n ot Step 3 of the B~rd (see

-- page lo]. Use a large shee·t of paper, ot least' 1ft (30cm) square,

.

,

.. "... -"._.':' . - .. "

~ ~

"

1 ... -

1

Ul - JL-Id nro o.

76

A

c

2 Crease and unfold two valleys and a mountain os shown, then colic p se them si m . I a nee .. slv

t... ... ,. ,., .1., U, , ., U 'r!

brinqinq the do stoqether.

,B

3 Reverse wice on the small top sq uo re. Reve rse /vJice on the I a rg e side f~apsl noting rhot he creases go excolvto corners C and D,

B

~ -,

., ,

A B

4 Lilt and narrow A tooueh B, .. Reverse t 'e central 't 'jangles,

B

D

C-

,

c

, 5 Form two loose triangular (laps below A8 by Irfting and norrowinq the bonzontcl edges meetinq at the centre" Reverse the protruding edges above C and DOl old up E.

77

, 6 Fold Cad D across the

.,

centre, Form five' valleys end ·0

, 11l0U nto ins below E as shown, 'then .. collapse 'hem ·to look like Step 7.

AB

.-~

.•

E

, . . ,

" 7 Reverse C and D,

A a

c

D

E

8 Swivel A and B around to the back and "0 the right,

c

c

,

D

E

91

.

Vollev A and B bock to the "front

f

E

1 0 "_ like this! Turn over-

... . r" .. • ... ", -.

,

.0

J . ~

.....

I .

, .. ' .' 'p

'. '.'111' . • ,

. .

t' E

11

Fo Id ocross wh ere shown to

swivel A and B into view.

- .,

l A

s

.

.

s

c

.

o

R

G

A

M

HEA,D

c

.

.. - ...... , '.. ~I

15 Outside reverse B, lift the edge to 1'0 rrn an eye. Colla pse the €OIL Re'peo· behind.

12

Mountal'n ·folld in half..

A

,

I •

. ..

• I

C- :.

-

13 PI'eoi flop B. Reverse twice at the base of the toil. Form crecses wh e re shown on the, hind I @g_ Repeat behind. The paper' now becomes 31D.

116 Pull out the inner lovers ot B, Outside revers'e A.

~. j;

.......

... :-~

J ... .&.

II" • II'

-.

~ ~ 4 Shape the shoulder- Crimp th e body to th e reo r of th e Ioreleq. Rep€ot behind"

1 7 lift the bottom edge to f.orm a [ClW. Squash the eye to open it, Rt§peot' ben ind. F lotten -the

,

, toreheod,

. .

. .

. ~.:'1'

,~

, .

-

,

18 The head complete. <,

7',8'·····

- .

W E

, ,. . ,

, , .v

Ii 19 Mountain the leg behind, as shown.

_

, ~,

i 20

_.

,

.,:,

Separate G from F"

G

; 21 Collapse as shown, forming a horizonto I foot, . __

~:

S- T

-._.

E

E S

G-"

1',- ...•

N

.

s

R

ID

!; 28 The hind leg complete. ~ Repeat behind ..

23 TlJck the point inside to lock th e front of the toot shut.

..

c

.

. ,

::0

, .e

r .. ' •

.. . ....

215"',

. .

' .•.. 1

26"

' . . .

1 •..••.

,~ ,

.~

v-, 24 The foreleg complete.

:; Repeat Steps '19-24 with ·the other foreleq.

: 29

~ ,

Revers~.

30'

I

...... .... :

Narrow .

Outside reverse, os shown"

31-

1

Toil complete ..

Outside reverse again,

The Rhino cornple ·e .. We,ll

lnside reverse the fip.

donel

CLASSIC

ORIGAMI

ACKNOWLE

GEMENTS

" hank you 10 those oriqorru creators who [gave me permission to ,

"'

J publish their wonderul desiqns. In po rticu lor}" I rn ust tho nk the ..

Japanese livinq Ireosu re of oriqo rni, Akiro Yoshizowc, for his per- ' mission to publish his Bu"tterfly and for his qererous support oi the brook. Florence Iernko's Rooster wos first published in her book Paper "~ .. Pandas ord Jumping" Froqs, Chine iBoa,ks, USA ..

"' ,

~,

:: 0 R I

AM

SOCI Ell ES

ere are oddresses for two societies which cater w"elll for the beqinner. H you would like to know more obout oriqorni, both publish iniormofve rncqozines and orqcnlse reqionol and notioncl ~:

~:.

meetinqs. Memb,ership to both is worldwide.

,

, British Oriqorni Society

, 253 Pork Lane

, Poynter

.. Stockport SK12 1 RH Eng,land

.. The Friends of the Oriqorni Center of' Arnerico 15 West 77th Street

-

N1ew York

NY 10024 USA

L

1"

80··

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