bird

WM02 – An Art Piece?

| wonko

Those following my socials will have seen that i was quite excited with an idea and it’s execution – a rare 1-2 whammy with me:

Having made Mulberry Washi, I was trying to decide what i wanted to do with it. I think the larger sheets are currently sheet pulp storage I will re-beat and incorporate into other sheets, but sheets 1 and 2 (names WM01 and WM02 – my nomenclature) I wanted to keep…because.

WM01 is barely there mulberry tissue – I will not fold it, but it is fascinatingly strong. WM02 on the other hand is almost a sheet of paper – thin, lovely deckle edges and loads of character.

I had this idea, based in part on my extensive folding from one of the oldest origami books there is – Senbaruzu Orikata. The idea of a traditional Tsuru (crane – the one everyone including me learns first) still connected by a wing-tip to the surrounding paper began to eat away at me (originally the idea woke me up).

Folding connected cranes is all about the prep, so as not to put too much strain on the part that joins – a single point of failure. Exploring the sheet, I searched my origami squares collection and found that an 11.7cm square could be placed, avoiding the holes and weirder bits, so decided on that size arbitrarily. I also liked how much of the sheet would be untouched, and reasoned I would need it to attach to a backboard if it were to be framed… but I am getting ahead of myself – I had no idea if I could fold or work the sheet at all.

In pencil, I traced the square as accurately as I could, then carefully with a scalpel liberated all 4 edges nearly to each corner so I could see the square border, then gingerly began laying in the pre-creases of a “bird base”. To my absolute delight the paper took sharp creases with NO fatigue. Knowing how the bird base was going to collapse it allowed me to place the necessary pre-creases ONCE, and in the right orientation (mountain or valley).

Once the pre-creasing was done, I then went and liberated 3 of the 4 corners (no turning back now) and collapsed and shaped the Tsuru with no real drama – just being careful of the single remaining attached corner.

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1160: Baby Penguin

| wonko

Browsing my collection of Tanteidan Magazines, as one does, I stumbled across a rather cute little baby penguin designed by Yoo Tae Yong that I had never tried:

I dug out a lovely sheet of Navy/White Yukogami from origami-shop, and began, carefully, laying in creases.

Yukogami is a deeply textured paper, making pre-creasing difficult as you cannot see your crease lines easily – for the finished model this is an absolute bonus, but during the actual folding this is a positive pain in the arse to be honest.

A relatively simple base leads to a careful collection of colour-change moves to isolate enough flaps to clearly define the face details, while surfacing enough white to do the body and isolate the flippers – all in all a genius design.

The final model is this plump, almost furry little penguin chick awaiting it’s next meal – fun fold.

1157: Fairy Penwings

| wonko

I fell down an internet rabbit hole and stumbled across a Graeme Norton interview of Benedict Cumberbatch who, during a nature documentary commentary seemed singularly unable to say the word “penguin”:

I was approached by fellow Aussie origami designer Gary Fonarik to test his ‘Fairy Penguin” diagram. I fired up a 15cm blue/white square and completed his charming design. The result, to me, looks a lot like a penguin chick wanting to be fed by an exhausted parent.

Then Steven Casey, another Aussie origami designer asked me to try his (more correctly names “Little Penguin” as the scientific community has moved away from the Fairy label apparently).

Both design are charming, and I will add them to my growing flock of penguins. Fun instance of synchronicity.

1154: Glossy Black Cockatoo

| wonko

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.

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Lyrebird

| wonko

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.

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Display

| wonko

My annual origami display at Holland Park Library was installed this morning:

Cabinet 1 views

Included is a broad range of origami styles from a huge and diverse collection of designers, folded from a varied collection of papers.

Cabinet 2 views

I am trying to get better at not crowding the display cabinets – sometimes less is more to allow individual models to shine – let me know how I went.

If you visited, I would love your impressions, comments and suggestions for future displays.

Get directions here

1143: Toucan play that game

| wonko

The original and ONLY authorised copy of this post, authored by Wonko, appears on http://www.wonko.info/365origami/

One of the many advantages of being on the editing team for an origami book is that you get to see models before they make it into the wild. This Toucan, designed by Jiahui Li (Syn) appeared in the book “Comic Origami 2 – Feathered Friends” among a plethora of other fun folds:

I had a much used 40cm square of Origami-Shop Shadow Thai paper that I used and re-used (after ironing flat) to do test folds. I quartered it to make 4 20cm squares and set about finding folds for it.

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1137: Crane in a Box

| wonko

Cruising the channels on Origami Dan, I found a CP for a fold challenge I had missed, but decided to give it a whirl anyways:

Designed by Scott Okamura, this seemingly impossible fold featured a traditional Tsuru (crane) folded in the middle of a large page of duo paper – the surrounding paper is then formed into a box.

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1136: Tsuru-Jin

| wonko

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!!!).

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1133: Pelican

| wonko

Perusing origami books, as you do, I chanced upon a delightful little pelican:

Designed by @tommy03, making use of a beige/white duo 6″ kami square, this delightful model captures the essence of a pelican better than any other I have seen.

“What a wonderful bird is a Pelican – whose beak can hold more than it’s belly can.” – A rhyme my mum used to say to me as a little tacker – hoping to gift this to another mother tomorrow.

Sometimes simple is stunning too.

1127: Bin Chicken

| wonko

The majestic “Bin Chicken” is, sadly, an aussie icon – those black-headed ibis emerge from the deepest, moistest corners of a ripe dumpster, dripping bin juice.

Yes, I KNOW that an Egret is not an IBIS (the beak is different and the body colouration is different… but… creative license). This is Jeong Jae Il’s “Egret” – a beautifully lifelike rendition of an altogether more polite bird. The diagrams, from “Potential Origami” suggest heavier paper, so I trotted out a lovely 58cm square of duo Yukogami to work this model.

The paper is stark white one side, jet black the other, heavily textured and light cardboard in thicknicty, but I thought I would fold until either it was finished or it failed. The only real struggle was thinning down the legs that end up being about 12-18 layers. In finishing, after dry-shaping, I slid a little white glue inbetween the layers then re-formed on my dry shaped form, compressed and found the paper dried solid – an added bonus was I did not need to add wire, she stood on her own!!

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1110: Origami World Marathon 4

| wonko

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.

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1099: Songbird

| wonko

To mark the release of Phạm Hoàng Tuấn’s new book, he released a photo sequence of a little songbird on Fakebook:

Hundreds of development photos lead you (sort of) through the exacting process of folding this little wren-like bird. I decided to throw some nice paper at it.

The suggested size the author used was 20cm, so I went 35cm square, thinking I would have been safe, but should have looked ahead as it got waaaay too thick due to layers really quickly. Not to be deterred, I thought I would try to shepherd the now clearly wrong paper through a torturous fold,

In the end, some features (like the head) were really clumsily folded due to thickness, but I am pretty happy with the number of bird-like features I was able to tease out of this lovely sheet. I was also reminded of an important lesson – choice of appropriate paper is REALLY important on complex-supercomplex models.

I posed and stabilised it as much as possible, and will prolly fold it again some other time. The photo sequence was super annoying to use – it kept timing out (google drives get lazy) and so many of the photos showed indeterminate actions at times I was left scratching my head thinking “what is actually being shown here”. Beggars cannot be choosers however, so I gave it a red hot crack.

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Day Tripping to Zaragoza

| wonko

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.

le Coq

| wonko

I try not to let folds beat me, but honestly, until now this one has. I have attempted Eric Joisel’s ‘Le Coq” more that 6 times, this is really the only fold of it I am happy with:

Joisel's Le Coq variation

Continuing to fold models that are part of a competition I was eliminated from is part of the motivation, but a “hidden” technique, published obscurely (not in my library) surfaced that allowed for a layered/ruffled breast and clarified the eye/comb and “bingo!”, I finally get it.

Giverny meets Vernon - Joisel's Le Coq variation

This model is folded from a 1m square of Officeworks Kraft paper, measures 20cm toe to comb, and is all attitude. One of our fondest memories of France was the bicycle tour to Giverny (Monet’s house) via Vernon. While in Vernon, looking for baguette and cider, we stumbled across a bric-a-brac store that had resin chooks – we fell in love with a rooster we subsequently bought, naming him “Vernon”.

Joisel's Le Coq variation views
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