964: Tetsuya Gotani’s Ankylosaurus

Being most of the way though the proof-reading of a new book by Tetsuya Gotani, I decided to test-fold his Ankylosaurus:

Tetsuya Gotani's Ankylosaurus

The final model, folded with 50cm printed Ikea Kraft paper, is a freaky cow-like critter covered in spikes with a club-like tail and a cow-like head.

Tetsuya Gotani's Ankylosaurus views

The only other Ankylosaurus I have attempted (and failed) was a complicated mongrel designed by Ronald Koh.

This model seems based around a tessellation of the ridge spine Satoshi Kamiya used on his Ryujin, and it is nice to have practised this molecule – useful for forthcoming models I hope.

Tetsuya Gotani's Ankylosaurus development

There are many complex layer manipulation steps in this model, and, although it is possible to use common sense to nut out what should go here, this is not a beginners model.

The gentle arching of the back makes this an inherently stable model – self-standing and tidy (without glue, wire) model. Some models want to unfold or their legs splay (particularly models that start flat then bend along the body to make their shape, but this one is happy to be.

Tetsuya Gotani's Ankylosaurus scale

This new book has some fabulous designs in it, I have been blessed to be involved in editing it. Tetsuyu also explains his design methodology, making this a must have in your library.

943: Dragon Heart Tessellation

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:

dragon heart

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.

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942: Triangle Waterbomb Tessellation

One of the interesting things about being associated with “Pinterest” is that their algorithms continually look for stuff it thinks will interest you. Given I only browse Origami, I get some interesting leads. I saw a triangle-based tessellation/corrugation and did a little digging:

triangle waterbomb tessellation

Seems Ron Resch, in the early 1970’s, was heavily into paper-based corrugation and this design emerged around then. The basis of this fold is 2 triangle grids, one at twice the scale of the other, offset at 30 degrees to the other. It took me a couple of failed attempts to get the crease layout to work but in retrospect is is much simpler than it seems.

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941: Home is where the Hive is…

Over the last few years I have played with origami tessellations – the theory of a repeatable pattern that interacts with other repeats (molecules) is fascinating and a real testament to the accuracy of the pre-folding. As part of another project, I have been exploring triangle grids, and a devilishly tricky to collapse hex-cell tessellation by Robert Lang he calls “Honeycomb”.

Robert Lang’s Honeycomb Tessellation

After folding this a number of times, and then schematicizing the molecule, I noticed that “cells” were deep and, due to the nature of the collapsed layers inside I did not think they were very tidy nor kept their shape nicely. All to often, in origami design, paper thickness is disregarded in the theoretical collapse – in this case hiding away most of the paper in canyons between cells deforms them in ugly ways.

Original Lang molecule (right) and my shallow modified one (left) – same size paper

I started playing with the corner mechanism, and discovered I could halve the height of the cell wall, making the tuck much less bulky and doubling the size of the resultant folded field on the same bit of paper. Additionally it held itself together nicely with edges that are easy to stabilise. With a little practice (I am sure my work colleagues thought me obsessed, given the number of times I folded this tessellated field) I was ready to scale up … well, down in truth as I folded a “tiny” triangle grid on my target mustard leather-grain paper and then set the corner widgets before collapse only to then realise that folding this small was a real challenge with my nerve damaged, fat clumsy fingers.

CP of molecule (red=Mountain, blue=Valley) Thick lines are visible edges, thin are hidden
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937: Diamond Bracelet

I hate throwing things out – having cut the biggest 2×1 rectangle possible from an A2 sheet, I was left with a lovely thin strip of scrap:

I was playing with a corrugation, with the view to design a millipede, but stumbled across a molecule that I then tessellated along the length. Continue reading

931: Sipho Mabona’s Fugu

I have had this model on my “to do” list for ages – I had shied away from it because of what I perceived was a brutal precreasing sequence and impossible collapse:

That said, with a little large scale and some accurate pre-forming, the laying of the corrugations was fairly straightforward – all based on halves. Laying crenelations across these were fiddly in low light, and had I realised they would be angle bisecting squares later then I think I could have been more accurate. Continue reading

890: (340/365) Arches Tessellation

David Huffman is a bit of an origami enigma it seems – he pioneered a bunch of tessellations and surface corrugations and seems to be one of the first to explore curved creases and their bizarre effects on flat sheets:

This is is “Arches” tessellation, an intriguing offset brick valley folded grid that then has parabolic mountain folds at each intersection. The resultant sheet is really hard to tidily collapse (in my experience) – perhaps it was the paper or the scoring technique I used to form the parabolas, or perhaps it was the parabola itself – with no guidelines I just sort of guessed a curve.

You get a sort of waterbomb base forcing one trough deep into the arch of an adjacent fold – when it is tidied up it is fascinating – I could see uses for this as an interesting textural pattern or ambient light panel as it makes funky patterns when backlit. Continue reading