As part of my 5-Aussie Animal series, I present my Glossy Black Cockatoo:
As an endangered species, I am thrilled to be able to have a go at representing it in Origami. Reference images of the Cockatoo show it has a striking red flash in it’s tail features in an otherwise black bird.
Folding this model has shown me how hard it is to photograph such intense black paper.
Folded from a 60cm square of black Kozo with sugar cane inclusions – the resultant model has flecky shiny deep black, and is quite gorgeous. I rendered the red flash with red Kozo containing mango leaves – I laminated strips over the pleated tail feathers and am really happy with the result.
I decided to go with a “about to land” pose, so fashioned a wire stand with a ground outline shape that is meant to mimic the outline of the shadow of the landing bird – I think it works – what do you think?
After a lot of research looking for cockatoo origami diagrams, I found a diagrammed sequence designed and diagramed by Arthur Champigneul in the 2022 Origami de Bogota conference proceedings – this design forms the basis of my model – I have added some features and shaping to more closely align to the Glossy Black Cockatoo.
At any moment, I have a half-dozen Tanteidan magazines, from my subscription to the Japanese Origami Society, on my chair-side table yet to be filed:
Flicking through them, it is impossible not to be intrigued by the challenges, fold tidbits, crease patterns and full diagram sequences.
Sadly, I contrast it to British Origami Society Magazine – I used to subscribe but let that membership lapse when I got to the situation that I folded nothing from them for 4 issues in a row.
These models are modular “cubes” designed by Jun Maekawa – delicious geometric puzzles with radically different design methodologies. The “Cat Ear” cube is a 6-module cube that is related to the “Business Card” cube I have made into a huge Menger sponge.
Paper friction and tabs and pockets offer structural strength, properly interleaving the tabs make it a really stable piece of geometry.
The “Zig Zag” cube is different – it uses 2 pieces of paper total – each “half” of the cube is folded complete (internal and external surfaces) from a sheet of Duo paper. Ingenious in design, fiendish the first time you try to link the 2 halves, delightful together and apart.
I love these little gadgets – every Tanteidan has at least 2, I have barely scratched the surface of them.
Working on an Australian Wildlife series, naturally I had to include Satoshi Kamiya’s lovely Green Tree Frog:
I had a day-glow lime green sheet of Hanji in my stash, gifted to me from a collegue who brought it back from Seoul a few years back. I decided I wanted to treat it and colour it with some of my acrylic inks.
I misted the sheet with water, wet a large glass window, rolled the damp hanji onto the wet glass and then coated it with a thick coating of methyl cellulose (MC).
As part of an Aussie animal series, it would be wrong to not include a Kangaroo:
The best Origami Kangaroos are designed by Gen Hagiwara – this is Gen’s 2013 design, a lovely mother ‘roo with a joey in her pouch. Fortunately it featured in Tanteidan Magazine #147 – part of my growing collection of JOAS origami magazines.
Starting with a 50cm square of rust Lokta paper – a Nepalese paper made from the inner bark of a species of Daphne, a remarkably durable paper that has natural resistance to bugs, mildew etc.
There are only a few origami figures I MUST have in my collection – Steven Casey’s “Echidna” is one of these:
This adorable little monotreme is covered in one of my favourite square-grid tessellations, but skillfully crafted to allow all the other body bits to be where they need to.
I bought the British Origami Society booklet describing how to fold this treasure as soon as I knew it existed, and have folded it a few times now. Some sequences are nightmare fuel – this one is just so enjoyable to fold.
I recently received a shipment of paper from Origami-shop.com and in it was a 65cm 11 colour pack of the NEW Shadow Thai paper. I last bought it in 40cm square form but it was THICK so to my delight this version is thinner and takes complex folds really nicely. I chose this fur-like colour because it most closely matched the quill and hair colour of an echidna.
One of the few applications of the Miura-Ori (map fold) that I can tolerate folding is to make the fantail of Satoshi Kamiya’s Lyrebird.
I had a half-sheet of leaflitter paper in my stash (bought some 8 years ago) and thought it fitting to fold a bird that lives in the leaflitter out of it.
This is not my first fold of this beautiful model, but it is my best. Having good, thin, tough paper helps as accuracy is everything when folding the base – so many opportunities for crease misalignment exist and, as the paper thickness ramps up, there is bulk there.
Interestingly, the “bulk” ends up being in the body area which then naturally “fattens up” the bird in a really naturalistic way.
Browsing a Korean Origami Convention book (the 6th – 2015), as you do, I stumbled across a Platypus I had not seen before:
Designed by Fernando Gilgado, this genius design uses duo paper to isolate the beak, tail and legs from the body in a really interesting way.
After some simple pre-creasing, you collapse to a base that looks really useful for all sorts of long critters with head/tail and 2 pairs of legs (like a crocodile, say)
There were many standouts from the epic Origami World Marathon (OWM5), the rabbit taught by Riccardo Foschi was one such:
So much character teased from a 16×16 grid, this delicious comic rabbit stands on its own and is dry-shaped, without the need for any glue or MC.
My first fold used Tant paper, and was smaller but useful to explore the structure. In this model’s case, a thicker more robust paper actually helped with the shaping – I managed a lovely plump belly and rounded face, arms and legs with toes/fingers implied by subtle divots.
As a closet botanist, I am interested in floral geometry – many flowers are based on pentagons:
This is “Star Katrina”, a beautiful kusudama designed by Xander Perrott. Folded from 30 x 2:root 3 rectangles cleaved from squares of Tuttle Indigo dye duo paper over the last couple of days.
The unit is based on a tight triangle grid – fairly easy to fold accurately and the locking mechanism is so positive that this kusudama is held together via paper tension and friction only (no glue, truly, none).
Wrapping up an editing spot on a forthcoming new book, I decided to fold Tu Kaiming’s design for a Flying Western Dragon:
It is rare to see a dragon posed mid-flight, and I like the approach taken here.
Oddly, it is usually westerners that think dragons need wings to fly – but they bring a dynamism that it is difficult to achieve without them. I also like the styling (ribs and other details) – the ribs remind me of the Xenomorph I just finished also – a nice detail. The head is simple, horns suggested – a nice balance of form and function.
Using a 50cm square of rust-coloured Satogami (my first sheet from a paper pack I got from Origami-shop.com) the base creases are easy but the model escalates pretty quickly to become a tight bundle. The Satogami took the contortions and flex tension pretty well (even during a dense “turn this part inside out as a complex reverse-fold sink). Satogami is a heavy paper with an interesting subtle texture – I must use it some more.
It is clear that Origami is currently experiencing a Renaissance – so many new designs emerging from everywhere, it is also wonderful that we are getting to see new designs from all over the world.
I have long been drawn to the particular thrill of Science-Fiction based horror – few franchises do it like Alien:
This Xenomorph, designed by Kade Chan (you too can have a go at folding it here) was folded from a 60cm square of Crumpled VOG paper – a rare find in my stash, near last remnant of a purchase some 10 years ago when you could still buy VOG paper.
My previous fold of this model was in crispy Kraft in 2013, and I had always meant to return to it and fold a presentation fold. With the release of “Alien Romulus” in cinemas, I figured the chest burster was about ready to pop.
I first folded these little critters, designed by Robert J Lang, using a square cut from an A3 printer paper sheet back in 2011 as part of my original 365 project:
Remarkably, even with that terrible paper, all the features of the critter were present however not very refined.
Australians call these “Slaters”, but they also go under the name “wood lice” because these little isopods are found in decaying vegetation – which is why I decided they should be folded from Mango Leaf paper. It makes this fold a bit “meta” in that the critter is folded from mulberry paper that contains leaf litter.
The fold sequence is exacting, forming trapezoidal molecules for each of the 14 legs, along with antennae and a rather beautiful segmented shell. This model appears in a few of Robert’s books, I folded this one from “Origami Insects 2” – a rather splendid volume from Origami House in Japan. bought from Origami-shop (even though, strictly speaking, it is not an INSECT….).
I decided to fold two so we could see one open and one curling up into a little armoured ball – they do this when in danger.
Our current car is old, but a lovely tiny Mitsubishi Colt (that looks a LOT like this model), and … eventually … we will need to replace it but, annoyingly Mitsubishi only make HUGE battleships now – not everyone wants a battleship!!!
The life of a male praying mantis is not all beer and skittles – inattentive and less nimble males often become a post coital snack for their partners in a brutal twist on “the circle of life”:
This is a pair of Satoshi Kamiya’s Praying Mantis, and this may well be my longest fold (in total elapsed time) to date. Two and a half years ago (the year before I had retired), I sat down with a crispy 55cm square of Kraft paper and began folding the maquette for this model (the brown one). I was stressed, it ate up an afternoon and calmed my racing brain but I got tired, lost my place and then mental fog set in and I could not for the life of me work out how to do the next step (making the little barbs on the inside of the front legs).
Determined to return to it the next day, I tucked the model into the open book I had in my book stand, put it away and … ignored it for 2.5 years. I am not sure my book “Works of Satoshi Kamiya 3” appreciated being splayed open for all that time and is now, finally, resting closed with the rest of my Origami library.
I finally had the “perfect” mantis paper – pre-coated green Unryushi tissue from Kami paper store, purchased a month or so ago when we were in Melbourne. I cut a perfect 50cm square from this deliciously thin and crisp paper and began folding. I was fired up to return to the partially finished but stalled fold and give it another go – how hard could that be?
I folded the green up to where I had stopped with the brown, then realised the next step was actually pretty simple (just not clearly diagrammed – representing such complex 3d manipulation in a series of line drawings is really hard, I know), so was able to take both the maquette and green production fold all the way to the end of an astonishing 271 step sequence.
The design is genius, and relatively efficient – interestingly there are triangle sections of paper folded away into the middle legs that is the only “waste”. Via a torturous process of isolating, crenellating and thinning the entire morphology of a lethal stick insect emerges from the tangle.
As an apex predator, the praying mantis is the perfect killing machine. Large swiveling eyes, sensitive antennae on a fully articulated head, complete with chomping mouth parts. Perfectly proportioned and armored thorax sporting 2 sets of thin legs and a pair of lethal clamp-like razor fists. Wings and a lovely plump pleated abdomen finish the features of this astonishingly complete insect – all from an UNCUT square of paper – just wow.
