Top Banner

Click here to load reader

Román Díaz

Feb 13, 2017

ReportDownload

Documents

trandung

  • http://www.origami-shop.com

  • Index

    Partie 1 : Texts and articles from the book_______ Origami EssencePage 3 : Acknowledgment / ReconocimientoPage 4 : Content Index / Indice de contenidosPage 6 : Foreword by Joseph Wu / Prologo ppr Joseph WuPage 8 : Introduction / IntroduccionPage 10 : Polyhedra / PoliedrosPage 13 : Design of the Bullfrog / Diseo de la Raba ToroPage 15 : Appendix - Finishing touches using Methyl Cellulose/ Apendice - Terminaciones con Metil Celulosa

    Partie 2 : Bonus - Diagrams by Roman Diaz

    If you enjoyed reading these articles and foldingmodels by Roman Diaz, extend your pleasure with34 other models with the book "Origami Essence"that you can order on our shop at:http://www.origami-shop.com

    Si ha disfrutado de la lectura de estos artculos yte gusto doblar los modelos por Romn Daz,extender su placer con otras 34 modelos con ellibro "Origami Essence" que usted puede ordenaren nuestra tienda en:http://www.origami-shop.com

  • Agradezco profundamente la colaboracin desinteresada de las siguientes personas:

    Pere Olivella y Mark Robinson, correctores y probadores de este libro, en los que confociegamente.Joseph Wu por su aporte creativo al diseo del T Rex.Oscar Rojas por su ayuda para encontrar un buen mtodo de divisin en 17avos para eldiagrama del "Roc".Nicolas Terry por el trabajo de edicin.Mis queridos amigos del Foothills Origami Guild, de Calgary, quienes fueron losprimeros en probar muchos de los modelos de este libro.Lionel Albertino por su paciencia en el diseo de la cartula.Felipe Moreno por sus valiosas ideas.Andrea Incoronato por su apoyo permanente e incontables sugerencias.

    Y todos los amigos que forman parte de nuestro pequeo pero preciado mundo del origami.

    Im deeply thankful to the following people for their selfless collaboration:

    Pere Olivella and Mark Robinson, test folders and correctors for this book, in whom I havecomplete trust.Joseph Wu for his creative ideas on the T Rex design.Oscar Rojas for his help in finding a good method to divide into 17ths for the "Roc" diagram.Nicolas Terry for his editorial work.My dear friends of the Foothills Origami Guild, in Calgary, who were the first to foldmany of the models in this book.Lionel Albertino for his patience in the cover design.Felipe Moreno for his valuable ideas.Andrea Incoronato for her enduring support and countless suggestions.

    And all the friends that are a part of our small but precious origami world.

  • Pirmide / Pyramidp. 60

    Gallinas geomtricasGeometric Hens

    p. 62

    Pjaro polidricoGeometric bird

    p. 66

    T Rexp. 71

    Cisne inflable / Inflatable Swanp. 75

    Pandap. 17

    Buho / Owlp. 15

    Ratonera / Wrenp. 19

    Salmn / Salmonp. 22

    Elefantito equilibrista Acrobatic elephant

    p. 36

    Jabal / Wild boarp. 41

    Cardenal / Cardinalp. 48

    Pingino / Penguinp. 26

    Martn pescador Kingfisher

    p. 31

    Raposa / Vixenp. 52

    6. Prlogo por Joseph Wu. 8. Introduccin. 10. Pliegues bsicos. 14. Seccin 1: origami esencial. 59. Seccin 2: origami inflable y polidrico. 92. Seccin 3: plegado en hmedo e interpretacin avanzada.147. Seccin 4: diseo de la Rana Toro.160. Apndice.

    6. Foreword by Joseph Wu. 8. Introduction. 10. Basic folds. 14. Section 1: origami essence. 59. Section 2: inflatable and polyhedral origami. 92. Section 3: wet folding and advanced interpretation.147. Section 4: design of the Bullfrog.160. Apendix.

  • Paloma enamorada Dove in love

    p. 78

    Conejo / Bunnyp. 81

    Pez dorado / Goldfishp. 84

    Cochinillo inflableInflatable piggy

    p. 90

    Calandria Mocking bird

    p. 114

    Colilargo Long-tailed bird

    p. 93

    Burrito boyacense Donkey

    p. 95

    Buho / Owlp. 99

    Cardenal cantorSinging cardinal

    p. 103

    UnicornioUnicornp. 121 Novillo Hereford / Hereford steer

    p. 128

    RocAguila mitolgica

    Mythological eaglep. 134

    Rana tradicional chinaTraditional Chinese frog

    p. 148

    Ranita / Little frogp. 151

    Sapito / Little toadp. 153

    Rana toro / Bullfrogp. 154

    Lemur de cola anillada Ring-tailed lemur

    p. 109

    Peces inflables / Inflatable fishp. 86

  • What makes for good origami? What defines a goodorigami artist? These questions are often debated byorigami designers. There are many points of view, andbecause we are a solipsistic bunch, consensus isseldom reached in these discussions. This is a goodthing, really, since it gives rise to individual styles oforigami. With different priorit ies given by differentdesigners to the various aspects of origami design, itbecomes possible to discern the idiosyncrasies inherentin each designer s work. This leads to an interestingquestion: do designers with a similar sense of origamidesign exhibit a similar style of origami?____________

    Ive known about Romn Daz for several years now,but I didnt get to know him until May, 2009, when theVancouver origami club had the pleasure of hostinghim for a weekend of folding. We were able to spenda lot of time discussing origami, and I discovered thathe was a very intelligent man. In other words, I foundthat the way he thinks about origami is very similar tomine.

    Cer ta in ly, we are very d i f fe ren t peop le : thepublication of his second book attests to that! But ourapproach to design origami is eerily similar. For us,origami has to look good, of course. But the invisiblepart of origami, the folding sequence, is also veryimportant. Some designers dont consider these twoaspects of or igami as a whole. Romn does notseparate them: a good model happens when a goodfolding sequence leads to a beautiful finished piece.We also have a similar view of detail and complexity:we strive to have enough detail to tell the story, butnot so much that it overwhelms the story.____________

    However, there is more to style than just the way adesigner approaches his process. As important is howthe designer approaches his subject. In any art form,the representat ion of a subject is necessari ly anabstraction.

    Qu es el buen origami? Qu define a un buen artistade origami? Esas preguntas son debatidas frecuentementeentre los diseadores de origami. Hay muchos puntos devista, y debido a que somos gente solipsista, el consensoraramente se alcanza en estas discusiones. Esto es algobueno en realidad, porque da lugar a la aparicin de estilosindividuales dentro del origami. Con diferentes prioridadesdadas a los diversos aspectos del origami por los diferentesautores, se hace posible discernir entre idiosincrasiasinherentes al trabajo de cada diseador. Esto lleva a unainteresante pregunta: diseadores con un sentido delorigami similar muestran un estilo de origami similar?

    He sabido de Romn Daz ya por varios aos, pero nolo conoc personalmente hasta mayo de 2009, cuando elclub de origami de Vancouver tuvo el placer de hospedarlopor un fin de semana de plegado. Tuvimos la oportunidadde pasar un buen tiempo discutiendo sobre origami, entoncesdescubr que es un hombre muy inteligente. En otraspalabras, encontr que la forma como piensa sobre origamies muy similar a la ma.

    Ciertamente somos personas muy diferentes; lapublicacin de su segundo libro es prueba de ello!Pero la similitud en nuestra manera de encarar el diseode origami es sobrecogedora. Para nosotros el origami tieneque verse bien, claro est. Pero la parte invisible del origami,la secuencia de plegado tambin es muy importante. Algunosdiseadores no consideran estos aspectos del origami comoun todo. Romn no los separa: un buen modelo ocurrecuando una buena secuencia de plegado lleva a una bellapieza terminada. Tambin tenemos una visin similar en loque refiere a detalle y complejidad: nos esforzamos portener suficientes detalles como para contar una historia,pero tampoco tantos como para abrumar esa historia.

    Sin embargo el estilo no es solamente la manera cmoun diseador encara el proceso. Igualmente importante esla manera de encarar al sujeto.En cualquier forma de arte la representacin de un sujetoes necesariamente una abstraccin.

    Nuestra evaluacin de la inteligencia de losdems se basa casi enteramente en cuncercano es nuestro pensamiento al de ellos.Estoy seguro que hay gente por ah que est enviolento desacuerdo conmigo en la mayora delas cosas, y soy lo suficientemente amplio demente como para conceder que talvez podranno ser completamente idiotas, pero prefiero sinduda la compaa de gente que est de acuerdoconmigo.Dav id Eddings, Be lgarath e l Hechicero

    PROLOGO por Joseph Wu FOREWORD by Joseph Wu

    We base our assessment of the intelligenceof others almost entirely on how closely theirthinking matches our own. I 'm sure thatthere are people out there who violentlydisagree with me on most things, and I'mbroad-minded enough to concede that theymight possibly not be complete idiots, but Imuch prefer the company of people whoagree with me.________________________David Eddings, Belgarath the Sorcerer

  • No matter how realistic an artist tries to be, there isno way of capturing every detail. The most obviousexample of this is the art of caricature, where certainfeatures are exaggerated in order to make the subjectmore recognizable. In many ways, representationalorigami is caricature in three dimensions. Theconstraints imposed by the medium necessarily meansthat only certain features can be included. Here thenis where style shows up again: which features will thedesigner choose to represent?

    Another similarity between Romns and my approachto origami is a dedication to perfection. I think this is oneof the factors that separates origami art from what PaulJackson refers to as mere model- making. Very rarelydoes the first attempt at a new design work out perfectly.It is the willingness of the ar