Madly, I agreed to participate in an international tournament, at the Intermediate level:
Intermediate meant you got a diagram and 72 hours to fold a rendition of it. I decided the “advanced” category was beyond my available time as you only got a CP and presumably relied on the power of prayer.
I gave it a whirl, went for crisp and accurate, but played a little with the flowing style of mane. It was loved by nearly noone who voted – fair enough. Other, less well folded versions (in my opinion) got more “likes” – social media is like that. Useful punch in the face, thanks.
Round 1 of the tournament done … and I am eliminated. Time to focus on more important things.
Cruising Fakebook, as one does, I came across a fascinating origami geometric mindf*ck:
Edu Solano Lumbreras kindly shared instructions for his design, having adapted the techniques used in Thoki Yenn’s “Umulus Rectangulum” corners, to make this tesseract like cubic möbius strip.
Comprised of 6 modules, with some exacting pre-creasing that lends itself to template work, you fold bent square tubes with 3 corners – the shortest corner makes the “tab”, the opposite end becomes the “pocket”.
Folding in a4, the geometry is just as elegant, if exacting.
Always on the look out for an elegant depiction of a horse, a contact on Insta posted his fold of this model (a model I had not seen before), and I knew I had to try it:
There are many stunning origami horses – my favourite 2 of note are David Brill’s (folded from a triangle) and Satoshi Kamiya’s (which I have yet to fold).
This model has the proportions and majesty of a fine racing horse and the fold sequence is a lot of fun – you have to be accurate and exercise restraint throughout to get an elegant form.
Folded from a 40cm square of Tant (a little heavy for this design, but I liked the colour and texture so persisted), I think I have a new favourite – such a beautiful horse, and lovely internal structure also.
Flipping through “Bugs and Birds in Origami” by John Montroll one gains an appreciation for the clear design skills on show:
This is Montroll’s “Butterfly” – published in 2001, representing ‘old school’ design, the resultant model is lovely, efficiently uses paper and is morphologically pretty accurate – all this without the hundreds of instructions typical of more modern designs.
Folded from a 30cm square of Daiso unryu (do they still make this? i have not been able to buy it for years), the work to isolate legs and antennae is delicious (if requiring precision) folding, and overall is a fun sequence minimally diagrammed.
Currently editing a book including designs by “Redpaper”, I decided to road-test his “Eastern Dragon” – an intense fold on the diagonal of a square.
I tried this with a 35cm square of japanese tissue and was unable to realise most of the detail, so scaled up to a 65cm square of duo kraft and found it more manageable.
There is a bot to take in here, the front claws are cute, the facial expression reminds me of the chameleonic monster from “Monsters Inc” but I think this model is really challenging on a few levels.
The back legs are an intense ride that results in fairly clumsy toes, but it is free standing on them in tripod and the rather odd tail. The neck is bent back and forward to point the head forward. If I were to re-fold this, I think large format double tissue would help, and there is so much paper in the body that I am sure you could make that more textured.
The fold sequence contains some mystery meat also – the formation of the legs is a bit smooshy (or it was for me), and the antlers were also tricksey, but it was an interesting ride. Keep your eyes out for the new book – there are some fab folds in it for experienced folders.
Rounding out my Ryu journey, I decided to use a small scrap of Kozo left over from another project to fold Jason Ku’s Ryu Zin Junior 2.1:
While sharing some of the nomenclature of the Satoshi Kamiya chinese dragon series, this little chap is markedly different on every level. I found a set of photo diagrams lovingly annotated by Daniel Brown, and thought I would give is a whirl.
Continuing my journey into the world of Origami Foxes, I came upon a folding sequence from Hoang Tien Quyet:
This is a vixen (the quaint name biologists call a female fox, not sure why) – quite fluid, feminine and organic – compare it with the previous post and you will see a stylistic difference, but also a similarity in the colour management.
This was a really tricky model to fold, lots of paper packed away in very sophisticated ways, I love the serpentine backbone that ends in a beautiful bushy tail.
This feels much more modern a fold, HT Quyet is known for his curved folds, this was fun yet a real challenge to work on the proportions. The body has a real volume and movement about it.
…so I decided it was time to play a game of WTF (What’s That Fold?) on fakebook, and discovered from my archives this was the 29th such game:
Through a series of gradual fold sequence reveals, punters guess, and eventually they got it. This is “Sirene” (or Mermaid) from the soon to be published book by Chen Xiao.
This is my first “anime” style character work (stylised faces, detailed hair, cartoony pose) and it was a bit torturous at this scale, with this paper. Folding the shoulders and central body is tough work on small paper (I used 35cm duo white/natural Ikea Kraft paper).
In the end it is a charming model with lots of details, a diva in a “D” cup with bangs, lovely long hair and a beautiful tail. The fold sequence relies on really accurate pre-folding as errors tend to amplify the further through the fold you get. As a result of a 0.5mm inaccuracy in the first 10 steps, her bra is asymmetrical, and the more I tried to fix it, the odder the breast appeared.
So in a recent workshop, I made a bunch of different types of paper, time to try it out I thought. I had 3xA4 sheets and 2xA3 sheets pulled from the white board + Day Lilly + Lemongrass vat, so decided to have a go at folding something from that.
There are examples, hundreds of years old, of clever multi-compartment paper widgets, used to store silk threads (from weavers and embroiderers), and there is some exploration of the folding theory on teh internet, but you gotta dive deep.
So GOT has started again, the final season and it is a promised shitstorm between people and the undead (sorry, if that is a spoiler).
It seems ALL of the trouble of the resident ice-zombies was caused by an experiment between a man and a race called “the children of the forest”, and some dragon glass, but that plot point will be explored further I guess as the series winds up. This mask reminds me of what I imagined the children of the forest looked like when I read the books.
Cruising around on Fakebook, as you do, I came across a module that seemed really familiar. I am sure I have seen it elsewhere, but am not able to find it (I think it is a Bascetta variant?):
I decided to give it a whirl – nice and simple, and quick to fold, it locks nicely with a positive paper tension keeping groups of 3 together, then you group the 3-unit points into clusters of 5 and you get a nice positive curvature. Using other combinations I can imagine zero curvature (6 modules) and negative curvature (7 modules) … hence a torus is possible?.
Researching tessellations, I stumbled across a paper, written by Helena Verrill (Queens University, Kingston, Canada) that generally introduced the concept and looked at a number of common tiling patterns, but the first CP is one I had not seen before:
I did a small tester and loved (fluked) the collapse, and decided to scale up to a full A3 sheet, starting with a square grid. Then nested adjacent squares are layed in on diagonals to provide odd inverse hinges.
I am quite happy with this, and if more ambitious, I would fold it much smaller on a larger sheet – it would make amazing dragon skin.