While I have tried many variations of this model, few compare to Riccardo Foschi’s “feathered Tsuru”, a glorious and complex variation with such beautiful wings. [more of this post…]
This is Martin Wall’s “Matchbox”, an ingenious model folded from a single, much tortured, piece of paper. A lovely little life-size matchbox, folded from a 50x17cm rectangle (3×1), it comprises an outer tray and a movable tray that slides open and closed. [more of this post…]
Eduardo Clemente’s book “Papiroflexia” contains a plethora of old-style 60’s origami, before the boxpleating, tree-maker days. [more of this post…]
This is Guillome Denis’ “Paint Tube”, a lovely bicolour model that has a style and movement to it. [more of this post…]
This is Eduardo Clemente’s “Burro con Carro” which I think means “Donkey and Cart”. Fashioned from a 3×1 rectangle, the technique involves completely wasting the middle square to provide a join that more or less makes sense between the cart and the tail of the donkey.
The trouble is, the join is so thick that modelling the hindquarters of the donkey is compromised, the cart does not sit quite right and the front of the model is so light that modelling front legs and head/ears is flimsy and a bit of a fail. [more of this post…]
The crowd gasped and applauded enthusiastically at the task do deftly performed by the seal on display. The seal sighed, feeling that the humans watching it were easily amused and so concentrated on the mathematics of parabolic hyperflexion and existential philosophy to pass the time until the next fish was tossed her way:
This is Fred Rohm’s “Performing Seal” an old-school model that is clever none the less. Perched atop the nose of a reasonably nicely formed seal is a beachball – all ONE piece of paper, some nice bending in this.
This and the “Magic White Rabbit” both make use of a blended waterbomb, should I fold this one again I would ensure it is less square.
I have never understood the justification from animal trainers – the whole “reinforcing natural behaviours” falls flat on it’s face with these sorts of tricks – still, so long as the crowd loves them it cannot be all bad – right?
The croud erupts spontaneously with “Olé!” as Llopio narrowly dodges the bull calf’s first charge. His grandfather’s matador cap, too loose for him, slips and obscures his vision, there is an amateur swish of a cape as the bull’s developing horns pass too close for comfort, quick step out of the way and Llopio is finally a bullfighter.
This is “Llopio’s Moment of truth” – the reason I bought the British Origami Society’s compendium of Neal Elias figures. There is much to like in this complex box pleat. from one piece of paper emerges a Matador, Bull and the Cape that separates them.
I like how there is movement, you can sense the drama, a fitting end to my exploration of Neal Elias’ work. This fold is challenging, so much of the design is “mystery meat” where you just have to sort of “improvise” – you would not want to fold it much smaller, the manipulation of layers in the bodies is intense and fiddly and it is not immediately obvious what is going to be what until near the end.
Interestingly, only the matador is box pleated – unusually you torture 2 water bomb bases to get the bull and cape so this is a nice fusion between pure box pleating and free-form sculpture. Happy I have folded this, apparently if you fold it with duo paper the cape ends up being the alternate colour – wow.
In ballet, a pas de deux (French, steps of two) is a duet in which ballet dancers perform the dance together. It usually consists of an entrée, adagio, two variations (one for each dancer), and a coda:
In origami, few designers have mastered multiple figure folding like Neal Elias – this is his “Nureyev and Fonteyn” model designed in 1973 as a tribute to the then “toast of the town” couple as they became an on-stage sensation.
This is a relatively simple box-pleat with some elias stretches to form arms. I found the flrming of her legs the most challenging, tucking it tidily into his trousers so the join between them is less obvious. At this scale, shaping is a challenge, hence her “thunder thighs” and their angular faces. I am happy however with this figurative fold, taken from my copy of the British Origami Society’s publication of Elias’ selected works.
Folded from a 3×1 rectangle (scrap litho paper from yesterday’s squaring), the only pity is that it is not free-standing (but boy would lit look pretty on a card) so I cheated and blu-tacked a paper clip on the back for display purposes.
I was looking for an easier model (because yesterday took so long) -this one fitted the bill admirably.
Interestingly, I drive past the church school she used to teach in in South Brisbane. I would love to say I actually knew this, but a staff member mentioned it during a meeting so I fired up my collection of nuns for a suitable model to provide the tribute.
there are a few things you can vary here as most is folded without landmark – the height of the cross, the tallness of the nun etc, nice figurative model.
…so I was bugged that as tiny little triangles, in white, I found it impossible to complete the 5 intersecting shape thing, so I went to the school copy room and asked for some colourful Copy paper – A4.
I got 5 strong colours, cut squares, made them into thirds, total of 6 strips per tetrahedra, 5 tetrahedra – total of 30 bits of paper, 1-2 minutes to fold each unit, 3-5 minutes each to place and lock into surrounding units and it is done.
I find this shape fascinating, and the order of the pattern was only evident after I had completed it – from simple shapes, great complexity and beauty can arise.