R GAMIO GILE
Models & diagrams © Giles Towning 2000-2007
BOS booklet 74First published by British Origami Society, September 2008
Printed in the United Kingdom. All rights reserved.No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the express written permission of the author and of the British Origami Society.
The British Origami Society is a registered charity 293039
BOS booklet 74
Dedicated to my boys, Lewis and Michael. Introduction
One of the great things about origami is it that it has an international language. You can pick up an origami book from any country, and begin folding immediately. Or, you can fold with someone who does not have a clue what you are saying. (No remarks, thank you!)
Origami is not always an easy thing to do, and I find that most people who practise origami are experts at puzzles and problem solving of one type or another.
My inspiration comes from all corners, and from all folders at BOS conventions and in the BOS magazine. Together, the list is endless. An example is that I have used a variation of Max Hulme’s folds in my Light Bulb . In fact, you will kick yourself if you miss one of his folding sessions at a convention, because you will know that you have missed something substantial.
Sometimes I have dreamed of an origami creation, and woken up knowing exactly how to fold it. Also, you can create by trial and error, stumbling upon something unexpected. Some of my creations are done with the attitude that while it seems that something can’t be done, I shall attempt it just to prove myself wrong.
I hope that you enjoy these ideas, and appreciate the extreme sacrifice of my giving up Sudoku puzzles in favour of the hard discipline of working on these diagrams until the booklet was finished.
CreasingOrigami diagrams are a bit like examination papers, varying from easy to hard. Some of the more advanced folders enjoy folding from flat crease patterns. Some take more time to fold a clean model, which means that the final model has got only the necessary creases and no more.
A model with no excess creases can dramatically change the finished shape as the paper has to curve and bend rather than buckle on an unwanted crease line. The Kawasaki Rose is a very good example of this, although I’m not too sure if this idea can apply to Joel Cooper’s Babylonian Head .
Conversely, I thought that creasing in extra lines could add a little detail here and there. Like feathers on a wing, or doors and windows on a house.
You could even go the whole hog and scrunch fold Vincent Floderer style to see the outcome. I usually scrunch fold when I’m half-way through a model, and I make a mistake, and after that it is slam dunked in the bin.
Having had schooling on technical drawing, I appreciate the excess lines, which tell you how a model is put together: a bit like an artist’s preliminary sketch giving you a more analytical insight into the final result or enjoying the mathematical formula as well as the sum.
DiagrammingIt is always best to keep up with your origami diagrams: that’s what I tell myself now when I have done no such thing. And now the task seems enormous. Ahhh! However, if you’re lucky enough to use your computer for diagramming, then it will save you lots of time and energy. Unfortunately I do not posses these skills and I have enquired upon the price of decent programming and it’s astronomical compared to my fibre-tipped pens and the retractable pencil I’ve, er, borrowed from work.
So I’ll just have to stick with freehand sketching. Which is not too bad, considering that the majority of the origami books that I love most feature hand drawings. Good hand drawings I feel have something of the designer in them that computer diagrams need to catch up on. Sounds convincing! I feel better already.
When diagramming it’s up to the artist to use a mix of either a flat plan, two-dimensional (2D) image, or an isometric three-dimensional (3D) image. Both are good, and both have their disadvantages. (See Optical Illusion page 34.) A 2D image helps you concentrate on one particular part, but too much of this can make the drawings a bit dull. A 3D image takes a bit more skill and can impart much more information, but it takes up more room on the page. You can make a 2D image look more like a 3D one by adding lines to show what’s behind the outside edges.
The angle at which we look at the model is also important. For example, it would be easier for the folder to look at the model from the same angle from start to finish with the minimum of turning over, to avoid confusion.
Often it’s quicker to fold one way, and it may not be possible to diagram exactly the same sequence steps you have folded. I’ve made my preliminary drawings by placing a layout paper over the top of my rough notes and choosing the best lines, moving it around for spacing and sizing, tracing over the diagrams until I’m happy with the final result.
The good thing about diagramming is obviously the end finish, but also sometimes you can see something extra that you didn’t see earlier, and so you end up enhancing the final outcome.
1 History of Origami John S. Smith 2 Origami and Mathematics John S. Smith 3 History of Origami in Britain David Lister4 Origami Instruction Language John S. Smith 5 Teaching Origami John S. Smith 6 Geometric Division Mick Guy7 Chess Sets of Wall, Hulme & Elias Mick Guy & Dave Venables8 Napkin Folds John Cunliffe9 Origami and Magic Ray Bolt10 Neal Elias: Selected Works 1964 - 1973 Dave Venables11 Flexagons Paul Jackson12 Martin Wall: Early Works 1970 - 1979 Martin Wall13 Orikata Thoki Yenn14 Pureland Origami 1 John S. Smith 15 Max Hulme: Selected Works 1973 - 1978 Dave Venables16 18 Of My Paperfolds Paul Jackson17 Origami Games Mick Guy and Paul Jackson18 Philip Shen: Selected Geometric Paperfolds Paul Jackson19 Tony O’Hare: Selected Works 1973 - 1982 Daniel Mason 20 Origami Christmas Tree Decorations Paul Jackson21 The Silver Rectangle John Cunliffe22 In Praise of the Bird Base John S. Smith 23 Index: BOS Magazines 1 - 100 John Cunliffe24 Index: BOS Magazines 101 - 120 John Cunliffe25 Envelope and Letter Folds John Cunliffe26 Animal Origami Edwin Corrie27 Origami Jeff Beynon28 Structural Reconstruction Ricky Wong29 Pureland Origami 2 John S. Smith 30 Paper People and Other Pointers David Petty31 Mor’igami Jeff Beynon32 Patterns in Paper John S. Smith 33 Animal Origami 2 Edwin Corrie34 Neal Elias: Miscellaneous Folds I Dave Venables35 Neal Elias: Miscellaneous Folds II Dave Venables36 Neal Elias: Faces and Busts Dave Venables37 Jeffori’ 3 Jeff Beynon38 Four ‘igami Jeff Beynon39 Animal Origami 3 Edwin Corrie40 Genius of Jan Willem Derksen David Petty41 Index: BOS Convention Packs David Petty42 Larry Hart: Selected Works (1971 - 1991) Larry Hart43 Pureland 3:Smith John S. Smith 44 Multiplication Jeff Beynon45 The Origami of Stephen Palmer David Petty46 Modular Construction and Twists David Petty47 ABC of Origami Eric Kenneway48 Making Faces David Petty49 World of Fred Rohm I Pete Ford50 World of Fred Rohm II Pete Ford51 World of Fred Rohm III Pete Ford52 Origami Models Folded from Rectangles John Morgan53 Origami Models Folded from Silver Rectangles John Morgan54 More Origami Models from Silver Rectangles John Morgan
55 Sink or Swim with Ted Norminton Ted Norminton56 Petal Folds and More Ted Norminton57 Pureland 4 John S. Smith58 Owrigami Francis Ow59 10 Pop-Ups John S. Smith60 A Medieval Court in Origami Julia Pálffy61 Decorative Boxes from Single Squares Arnold Tubis and Leon Brown62 Animals and Birds Tony O’Hare63 Ship-shape and Bristol Fashion Tony O’Hare64 Faces’n’Fings Tony O’Hare65 Planar Modulars (CD-rom) David Petty66 The Nativity - An Origami Scene Lore Schirokauer67 Selected Works of Quentin Trollip Quentin Trollip68 Which Came First? Robert Neale69 3D Masks and Busts Eric Joisel70 Philip Shen: More Geometric Paperfolds Boaz Shuval71 Origami Construction Giles Towning 72 Darwinism Ted Darwin73 Selected Works : A Second Selection Max Hulme74 Origami Under Construction Giles Towning92 My Fundamentals Kuni Kasahara Occasional Booklets Paperplay John S. Smith Bibliography: Origami in Education and Therapy John S. Smith COET (Editor) John S. Smith Other Booklets Fold With Feeling Nick RobinsonHearts 3D David PettyOrigami Favourites Edwin Corrie
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AcknowledgementsA very special thank you to Colin Rowe for sharing his great awareness of origami,and helping me in my origami drawing apprenticeship. An equal thank you to all on the BOS Council for unselfishly answering all the origami questions you can think of, and for making the conventions so enjoyable to attend.
A particular thank you to all the creators, diagrammers and folders from home and abroad that attend the BOS conventions. Seeing everyone’s old and new origami makes my head buzz with ideas, which really helps with creativity, and this book would not be possible without it.
Finally, a large salute to and in no particular order Erica Thompson, Colin Rowe, Alex Bateman, Nick Robinson, Joan Homewood and Ian Harrison for proof reading and seeing the job through.
Origami or Paper Folding: it’s very much your choice. It is a much-debated subject. There are many styles, techniques and folding materials, as well as numerous interesting subjects and attitudes to apply it to. So far origami has eluded characterisation and for the time being is an unfolded frontier.
Giles Towning is an electrician and, in between being electrocuted, his hobby is origami. Being in the right place at the right time, he managed to get an appearance on Richard and Judy then, later on, he got his name and diagrams on Greg Dyke’s Have I got News for You TV show. He has always tried to make his work original, and if his work inadvertently duplicates any others’ work then it is purely coincidence. (Great minds think alike!)
Once you have mastered origami, you will no longer walk the streets in fear of leaflet distributors, as it turns them into automatic vending machines for your artistry.