Looking at my “must fold when time” pile, I remembered a diagram destoned for a Peter Buchan-Symons “Folding Fantasy” book:
This lovely duo colour dragon is designed by Matthew Dunstan, and is an interesting variation of a classic birdbase with some grafts for the head.
An intense little fold in places (the head in particular is really fiddly and thick), I really like this little western dragon with good proportions and a unique character.
I folded this from a 35cm square of Duo Kraft paper – a mistake in retrospect, it would have been easier (less finger bruising) with a larger thinner sheet. Originally I planned to fold it with my Shadow Thai, but I think it is too thick … now I know how the fold works I may still give that a go.
EDIT:
Folded with a 40cm square of origami-shop Duo Thai paper, with some extra detail and shaping, this little beauty is a treasure indeed
As lightning crackled from the raging thunderstorm above, the electrodes sizzled, the smell of burning flesh hung damply in the air as the creature stirred on the table, accompanied by a mad cackling laugh interspersed with hysterical cries of “It’s Alive!!!”:
Apologies to Frankenstein lovers, but let us face it, this model is a bit of a Frankenstein. It is the result of putting a Satoshi Kamiya RyuJin 2.1 dragon head on a classic Tsuru (Crane)’s body. Nuts – right?
I first saw the CP (Crease pattern) for this on one of the Origami Discord servers I frequent (RyuCentral), and thought … how odd, how hard could that be??? Stupid man!
Dividing the paper into quarters and half along one diagonal, I reserved 1/4 on the diagonal for the crane and then set about laying in the graft CP for the dragon head in the remaining 3/4. It needed a 23 division grid that intersected at the square opposite the crane. Accuracy was the key. Grid laid in, I then started setting the pre-creases necessary for the head – stupid man, fucked the first set up twice (because I did not count), finally, pre-creasing done the collapse began.
I have folded many Ryu Jins, many versions, many times, so it was like returning to an old friend, interestingly muscle memory helped me not find the horrendously complex manipulations difficult at all (or maybe my subconscious was blocking the trauma) but to my surprise the accuracy I obsessed over early on paid off later allowing a pretty tidy collapse and NO damage to the reserved 1/4.
With the head collapses through early base, late base and shaping, I isolated and shaped the little arms and then set about working out how to fold a crane with the head as the head. Annoyingly I chose the wrong orientation first (der) and the head was upside down and backward. Just when I thought I would have to perform an infamous “neck twist” (interestingly NECESSARY on full RyuJins), I tried unfolding the crane and reversing all the creases (ie. folding it inside out) – to my delight that solved the problem (and THEN I remembered CPs are usually drawn WHITE SIDE UP – what a dickhead!!!).
Good paper is such a blessing. I took a long-stored square of olive Vietnamese Dó paper and attempted to fold a “Temple Dragon” – got most of the way through and realised the paper was too small/thick to complete it. Rather than bin the model, I carefully unfolded it, ironed it flat and … the paper had a new life:
Folding paper can damage it – wood-fibre-based paper takes damage (I call it paper fatigue) because the folding process can break the fibres along the crease. SOME paper has strong, flexible fibres that bend but mostly do not break, and Dó paper (made from bark of the Rhamnoneuron balansae tree) is astonishingly resilient.
The colour reminded me of something, as a kid, I used to see all the time – green tree frogs. Naturally I returned to Robert Lang’s “Origami Design Secrets” and re-folded his Green Tree Frog – I no longer had in my stored folds a copy of this lovely model so figured it was time.
There is so much happening in the world of Origami design, it is amazing to see new models emerging of every subject imaginable. I am working on editing/test-folding a bunch of Chinese diagrams currently, and thought I should fold this beauty to check on the sequence in the diagrams:
I started with 2x 45cm squares of Kraft – intending to fold BOTH the landed and flying versions of this model (yes – 2 different forms in the same model!), reached a part of the diagram I could not get past – I ruined, ragequitted and snowballed one of the sheets in frustration … only to realise the impasse just required a different view of the model.
Plunging on, through a challenging sequence, I muddled to the end and the result is quite amazing. I like that someone has focussed on the “on the ground” version of a model usually depicted in flight with wings extended. These critters were land dwelling, occasionally in the air, and their body morphology is full whack – prolly why they no longer exist (except as remnant critters like bats). Tapejara’s were thought to be particularly agile fliers and formidable predators, remnants of these have been found in Brazil.
This is part of an astonishing collection of new designs coming soon as a book from origami-shop.com and showcases some amazing layer /sheet management. I _almost_ want to go back and now fold the flying version of this model … almost.
Fun, challenging fold. I think folding this critter much smaller represents a huge challenge – the pleats that form the back legs/toes at this size ended up being 4mm – my fat clumsy fingers struggled to fold these accurately (and you form these pleats part way through the sequence – not in pre-creasing). Going smaller will be “interesting” for a more nimble folder.
Matt shared a 2015 design on Fakebook recently, so I decided that given it is nearly Chinese New YEar, and it is a “Year of the Dragon”, folding a dragon I had not yet attempted was a good idea:
This dragon, in structure, is similar to Kamiya’s Ryujin 1.2 (in sheet layout at least), but does some interesting things with the body and tail that were fun to fold.
Initially I tried it with a sheet of Yukogami, and abandoned it before I managed to get to the base because it was just too thick. I resorted to a nice crispy thin 55cm square of Kraft (I should have test folded it first anyways – doh!).
I added a wire armature and did a swirly pose, raised a front foot and had the opposite foot mid-step, it is a little cute.
Chinese dragons differ from the Western tradition by not needing wings to fly – they are way more “serpentine” as opposed to scaley bird or scary bat.
Leafing through one of the origami books I helped edit, I came across a cutey little “Godzila”esque model I had not folded:
Designed by Oriol Esteve, from his book “Fold with the Flow”, this charming little Chibimonster seems ready to terrorise Tokyo and dodge nukes as the ineffectual army fights back.
I used to watch monster movies with a passion, and the old “guy in a rubber suit” versions were terrifying as a kid, but the whole Godzilla franchise seems to go on and on with re-imaginings and various levels of tech in the VFX often getting in the way of the story, at least these days.
I had a 25cm square of blue metallic paper (I think from a sample pack from Origami-shop) that was light blue on the reverse, so decided to torture it into shape. The book suggests Kami, and thinner paper would have made some of the moves less thick, but I think I like him chunky. It is a fun design, starting with one of Oriol’s much-used bases. I like that both the eyes and the back spikes are colour changed. The proportions are nice and I also like that he free-stands because the centre of gravity has been considered in his pose.
I have recently completed the mammoth 50hr+ live fold-along festival called The Origami World Marathon. I folded as many as I could physically attend, and it is a super rare privilege to be actually taught by such world class designers.
I managed about 14 models live, slept some and can complete those missed because, as part of the purchased ticket I gain access to video tutorials from the designers for the next year – win, win.
I was asked to test fold a model from Peter Buchan-Symons’ new book in progress “Folding Fantasy 2”:
This is a colour change lizard – there seems to be a resurgence in interest in precise figurative 2-d depictions of complex shapes via colour-change at the moment. This model cleverly exposes parts of one side of the paper, hides others with the reverse side and designing such things is a real skill.
The instructions for this model are clear, paced well and really approachable. Knowing Peter’s work, the book will contain a real range of complexities (certainly FF1 was a wild ride of simple through to very tricky models – a good one for your bookshelf).
I look forward to more opportunities to test out his designs, he does things differently to other designers, and variety is a good thing when looking for an approach to solve particular design problems.
Folded from a 21cm square of Indigo print Tuttle bi-colour paper, you could go smaller but would need to be careful not to lose the thin zig-zags that are the front legs and tongue.
So a fairly well known fact in Origami circles is that there are Origami Museums, few compare in size to the Spanish one in Zaragoza. When Jo and I had decided to spend time in Barcelona, we discovered Zaragoza was doable day trip from Barcelona Sants regional train station, so a plan was hatched.
Barcelona Sants is a regional rail hub, different to the metro. We will from depart here in a few days for Province, but this station also provides access to many other places in Catalunya and beyond. After locating our platform ( via a very helpful man at the Information counter), we had our bags (and everything else) xrayed before arriving on the platform to find the train already boarding.
We boarded AVE-S112 High Speed train, allocated seats a lot like an airplane, and took off. The train sped underground until it cleared the central city and burst out into the light as farmland flew by. For a lot of the journey the train was topping 295 km/h as it hurtled stop to stop.
After a little over an hour, we arrived at Zaragoza train station, and de-trained, got some refreshments then headed over to the Bus Station, to catch a C1 circle line bus, and rode it the remaining half way around to the terminus. After a brief bit of nav we were picking through the back streets to EMOZ, located on the 2nd Floor of Centro de Historias, Plaza San Agustín 2.
I had been in contact with the museum ever since there seemed a chance for me to visit, and it was lovely to finally meet an online friend named Jesús Artigas. We nerded out a bit, talked about the current exhibition and about Yoshizawa’s works, and particularly the work of Eric Joisel.
The museum has, on display a number of Joisel’s original works, including one of his gnome orchestras, his large-scale Rhinoceros and his large scale Pegasus.
Jesús let us sneak peak in the store room at Joisel’s large Hippopotamus also, all master works from a genius artist much missed.
We talked folding, design, and it turns out he is working on an interesting origami publication of endangered Spanish animals, and asked if I was interested in test folding closer to publication date. What an honor indeed, naturally I said yes. That should be fabulous and something else to be involved in when I finally return home.
We parted company with the promise of future collaboration, then Jo and I took our time appreciating the many rooms of exhibits. It was good to see so many original works from legends in the field, including Victor Coeurjoly, Robert Lang, Junior Fritz Jaquett, Kashiwamura, Jozsef Zsebe, a host of different Vietnamese designers, and even a tiny work from Yoshizawa himself. We are not worthy.
The museum also offers informative information about the paper/folding traditions of many countries. It is interesting that many different schools of folding crafts emerged independently with the introduction of paper and paper-like materials. We also saw some very early traditional folds pioneering skills from historical giants that modern day origami designers stand on the shoulders of.
The feature artist at the moment is Vivian Berty, with a number of rooms devoted to her colourful, figurative and representational varied art practice. Such a riot of colour and range of simple to elegant models, compositions and modular works.
It felt like home for me, to be surrounded by an art form I have spent a lot of my life exploring. Nerd-feasts come in every flavour, and this was one of mine.
After leaving EMOZ, we reversed our journey to Zaragoza Delicias rail station, grabbed a late lunch and then our train back to Barcelona. I am sure I gushed, Jo was very tolerant of a very happy nerd. If I get the opportunity I would like to visit again, as well as explore the other origami museums of the world.
A caiman is an alligatorid belonging to the subfamily Caimaninae, one of two primary lineages within the Alligatoridae family, the other being alligators:
When is a Crocodile not a crocodile – when it is an alligator, apparently.
This model has taken me an age for a number of reasons. The model, a genius design from Jeong Jae II (taken from the book “Origami Pro 6 – Wild Amazonia”) has over 300 diagrammed steps (worse, many are “repeat x-y, in reverse upside down”) and every part of the square is worked, then re-worked in many and exacting ways. I wanted to understand and enjoy the processes I was performing and some of them took time to do precisely.
Not rushing to “set” a crease is an important tenet here – until the crease is set there is still time to change it, once set it is permanent damage to the sheet – I tried really hard to set the creases in the correct place.
Scaled/pleated models always fascinate me – the design strategy behind HOW these are designed are completely beyond my comprehension – pleats and scales take a LOT of paper, so planning what is done and where is exacting. Following the set of instructions is complex enough but there are some who could fold this monster from a crease pattern (CP) alone – but not by me – that still is beyond my ability.
A quality design looks good with folds alone – and when I had laid in all the creases and roughly shaped it, the model was already wonderful. I did a little bit of cleanup – closing gaping seams with spots of glue, closing the underside of the tail to give it volume and wires in the legs for permanent posing. Remarkably little was needed to make this presentable.
There is a series of games in the Horizon series, set in a dystopian future where main opponents are robotic dinosaurs. My son plays, I am amazed by the complexity and richness of the game world.
I saw an origami “doodle” by Tetsuya Gotani of a “Tallneck” published on his instagram feed – a sort of brachiosaurus with a spaceship for a head. Thanks to the power of the internet, I reached out to see if he could give me guidance on how to fold one:
After a while, Tetsuya replied with a diagram series on how to fold it, newly drawn for me to test-fold. How amazing is that???
I hope he publishes the diagrams, the fold is challenging and the result is familiar to many gamers, and I am sure there would be interest from other origamists (and gamers) to fold it. The Horizon series of games has many robotic dinosaurs that would be perfect subjects for super-complex origami designs (hint hint!).
I started with a 40cm square of metallic green/black duo paper (I think it was shadowfold??), that was really thin but strong (it needed to be, because of the torture and final torsion of the outer layers over a bulky solid body. Characteristic of the game critter, spikey bits and a flat-top head emerge from deft manipulation of layers. The bulk of the paper lies in the neck, making thinning it difficult, and the resultant model has a neck that is a little too thick, compared to the slender game critter’s – but this is a minor quibble.
I am constantly surprised what you can do with the classic bird base:
This is Peter Buchanan-Symons’ “Loch Ness Monster”, a fascinating exercise in colour change and tight accordion pleating that takes the points of a bird base (traditionally 2 wings, a head and a tail) and manipulates them to make 4 stickey-uppey colour-changed flaps that are then bent to produce a familiar outline.
This is a simple model from a forthcoming book “Folding Fantasy Volume 1” that I helped edit – some lovely challenges therein.
One of the things I am doing more and more is being involved in the editing of pre-publish origami books. I was approached by Peter Buchan-Symons on his forthcoming book “Fantasy Origami”:
I have folded many of his models testing as I check sequences, but seriously love this little guy – such a clever use of paper.
I folded this little dragon on a 21cm duo Tuttle print (although it is suggested that the first fold should be 25cm+) and the sequence is wonderful, complex and exacting.
Francesco Massimo sent me a diagram, out of the blue, for me to try – such an honour:
I have labelled it a “Danger Noodle” – it is an Eastern Dragon, but it looks way too playful to be dangerous.
Folded as a set of nested rabbit-ears straddling a central pleated gusset, the structure is fairly simple but has the basic morphology correct. I am sure, with some re-engineering, one could make the rear legs a little longer and the head more complex, but as a basic eastern dragon it is a cutie.
It is not every day you open your email and find a gift from a design legend. Friday Francesco Massimo sent me the diagrams for his Western Dragon, and I knew what I would be folding this weekend:
Having folded many dragons (western and not), I was keen to explore the morphology and layer management of this new model, and pretty soon realised paper selection is REALLY important for success with this model.
Essentially a “birdbase”, 2 structured have been grafted on (a Lang “KNL”-style dragon head, and a luscious set of wings), meaning that the “legs” would emerge from the centre of a tangle near the middle of the sheet, accumulating layers as they were formed.
I decided to fold a maquette from thin crispy Kraft paper first – there were LOTS of baffling manipulations and I did not feel confident to risk nice paper on a first fold. In wrestling with the maquette, I “made good” the wing connection and body trimming, learned about initial angles of things like the neck (deciding I did not like the designed angle, changing it in my final fold), and the sequence for the collapse of the head – the pre-creasing strategy is prone to gross inaccuracies that impact the look and sit of the features, so adopted more of a CP mentality when I knew what was being used for what.
