THE PRACTICAL ILLUSTRATED ENCYCLOPEDIA OF ORIG AMI THE COMPLETE GUIDE TO THE ART OF PAPERFOLDING OVER 80 CLASSIC AND INNOVATIVE STEP-BY-STEP ORIGAMI PROJECTS, DESIGNED BY THE WORLD’S LEADING ORIGAMISTS ee FROM TRADITIONAL FLOWERS AND ANIMALS TO TRICKS AND ACTION ORIGAMI, SHOWN IN MORETHAN 1500 PHOTOGRAPHS Pieters)THE PRACTICAL ILLUSTR. ENCYCLOPEDIA OFTHE PRACTICAL ILLUSTRATED ENCYCLOPEDIA OF chilch into a career and since 1990 has b working as an origami expert. In Rick has given hundreds of w corporate entertainer, written several books: crigami and napkin folding, and designe origami art entertainment to a huge ard a Yell 77 ensured that the animation company involved Won 2 Go Rose of Montreux award. Rid 88-89 Blackfriars Road A In SE] BHATHE PRACTICAL ILLUSTRATED ENCYCLOPEDIA OFTHE PRACTICAL ILLUSTRATED ENCYCLOPEDIA OF ORIGAMI OF PAPERFOLDING RICK BEECH LORENZ BOOKS‘This edition published by Lorene Books. an imprint of Anness Publishing Lid Hermes Heute, 85-197 Blacknae Rows London SEL SHA: ‘el O10 740) 2077. ox 20 7612 9499 nwoorensbonks om: vaannesspubsehing com If you ke the images in this book and would She to investigate using them for publishing promotions or adverting please vet cur webste warepracicapicuresiom fer mare information UK agent"The Manning Partnership Li 11225 470444: fe 01225 478440, aleehmanning artnershipcouk Uk dsritor: Grantham Book Serves 3c 1. 0147% 541080: fx 01476 $4 106: orderdgbstos cou North American agentcstibutor: Natenal Book Netware 1301 459 3366 fx 301 429 5746 warunbnbookscom ‘Australian apervdstributor: Pan Macrilan Ausal: tal 1300 35113; fr 1500 135 103 casteomarservce@maemilancem ay New Zealand agetSsributor David Bateman (tet tel (09) 15 7664 fox (09) 415 552 Publisher Joznna Lorenz Managing Editor Judith Simons ‘Art Manager Clare Reynolds Project Editor Charlotte Berman Photography. 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Prevousty publsned ss 4 Handoak af Oram PUBLISHER'S NOTE [Although the ace ad fermion inthis toni ae ekesed Tobe accurate and rue at the ime of gn to press neither the Tuthors mor the publer xn acct any lel responsbity or labley fr any eves cr exis ht may be madeintroduction Welcome to this comprehensive volume devoted to the beautiful ancient Japanese art of ‘origami. or 2s it may more commonly be known, paperfolding. In postwar England, enthuslests were introduced to the art via the Rupert Beer ennuals, which featured a character also illustrated in the Daily Express. The illustrations were by Alfred Bestall, who was keen origami enthusiast, and he often ilveduged he a7 nt tha Ra stories, Chance meetings with Japanese students or lovers of magic tricks and novelties also provided an introduction to origami. Many will remember seeing the inepining television show hosted by Robert Harbin in the 19705. However you discover the art, you will alveys be grateful that you iid. Paperfolding is 2 deove Runes Beer folsng delightful experience, ‘8 origami bie an intellectual challenge, an entertainment, an opportunity to share ideas. and a thing of beauty, and therefore, according to Keats, “a joy for ever" as o Ce What is origami? (Origami is the Japanese ars of paperfolding, the name deriving from two Japanese words, “ori” meaning to fold, and “kami” meaning paper. Dictionaries often suggest that iris the are in which bird forms and other models are folded from paper. From this brief description or from childhood memories, you may be forgiven for thinking that origami is limited to paper planes, waterbombs and forcune tellers. As you will soon discover, the traditional origami fold advanced considerably ig continues, but the art has also the last 30 ro 40 years, so chat a iyi apeine a oi egg enue pel Origami is not limited to using only paper. Over the yeuts, enthusiasts dhroughout the world have experimented with all kinds of macetials while sill adhering to the principles of folding. Lane Allen (USA), for example, has introduced Orikane. This entails folding models from several varieties of fine metal gauze. This macerial has two obvious differences from standard origami paper: ir cin be moulded and curved, which opens up a variety of creative possibilities, Another American, Jeremy Shafer, designed pair of working Nail Clippers after folding the model from a very fine Japanese foil paper, he went on to develop a version made out of similarly fine metal sheeting, David Brill (UK) surprised the folding comsnunity several years ago with his Ship in a Boctle, which required he bottle ta bbe made of something transparent; he found the iseal BELOW Miniature origami models on dleplay at The ‘Onigam’ Galley in Tokyo.jonsticky acetate sheet hook covering sold This material is also used by Mee who folds several unit modular picees of smettic forms made by joining many of paper), which she then encases in a ‘The Durch are particularly fond of there they create two-dimensional mosaic sexbag wrappers, while dinnee ways been popular around the word. ‘Ssasy materials that are suitable for folding, and enjoyment adapting whae you will cs, different regular polyhedra and Nex are you limited to the number of sheers the mere mention of the words unlikely to agree that the odd slit Inerodvesion 7 haere and there ro help make a fold possible is true origami. So, designing origami can be « complex procedure, as you try to realize your idea while aking account of the restrictions imposed by the medium. Materials Paper is everywhere, and is among the cheapest and most common materials you can think of, Iris available in 2 range of thicknesses and with a widely varying ability ro hold creases, and so the choice of paper to use for origami is very important. Suggestions have been given for a suitable paper 10 use for each project, bur your own experiments and initiative will be a factor as you practise folding more and more models. Do not be discouraged if you choose a particular kind of paper only to find that, for whatever reason, itis not really suitable for that project. In Fact, you may need to fold two or three practice versions before deciding on che paper you feel is best for your final model. You will become a paper connoisseur as you discover the wealth of choice while you shop around. Even if you have no immediate use for particular paper, but love its colour or texture, buy it and add ic to your collection, One day just che right model will come along.A History the Art With the advent of paper came paperfolding, and for over 2,000 years origami has been a source of interest, enjoyment and intellectual stimulation for adults and children alike, In recent times origami has also become an educational rool, and a symbol of peace and remembrance, while for millions of people all over the world paperfolding continues to be an unrivalled pastime.Paperfolding originated in China around the Ist or 2nd century AD, and reached Japan in the 6th century. It began as an arc which, like many others in Japanese culture, was based on suggestion rather than realism: a few simple creases that evoked the spisit of an animal, a lowes, oF & bird, for example, rather than producing a decailed representation The Japanese tradition Over the following generations, origami would become familiar in many’ aspects of Japanese culture, By the Heian period, from 794-1185, origami was a significant part of the ceremonial life ofthe Japanese nobiliry. Samucai ~warviors would exchange gifts adorned with neshi — good luck tokens of folded paper and strips of abalone (shellfish) or dried meat. Shinto noblemen celebrated ‘weddings with glasses of sake decorated with male and female paper busterfies, cepresenting the bride and groom. Teacceremony masters reevived their diplomas specially folded for secrecy; once the wrapping had been opened, ic could not be refolded without excra ereases being addled, swhich would shew she document had already been seen ‘When paper became inexpensive enough to be used by everyone, origami assumed a new ceremonial role, as a means of social stratification. During the Muromachi period, 1338-1573, origami styles served co distinguish clases among the In the Tokugawa period, 1603 1867, a democratization of origami A contemporary occurred, as version of a Japanese art Japanese noshi and culuute lait Ancient Japanese woodblock showing @ ‘magician who, ccording to legend, folded a Napping bird 80 realistic that took fight blossomed. This period saw the ‘emergence of the bird base as documented in the oldest surviving publication on origami, the Senbazuru Orikata (How to Fold a Thousand Cranes), A base isa set of folds, in this case representing 2 bied, from which other, more elaborate, bind designs could be created. In 1845 the Kan mo mado (Window on Midwinter) was published, che first comprehensive collection of origami figures A symbol of peace After che atomic bomb was dropped on Hiroshima in 1945, killing over 75,000 people, radiation sickness and various forms of cancer began claiming even more lives. One such was Sadako Sasaki, who was diagnosed with leukaemia in 1955. She had been ewo years old at the time of the blast, and was apparently unhure despice being only a mile and a half away from the epicentre of the explosion. Ten years larerso many children were being, diagnosed with leukaemia that it had became known as "“Acbomb disease.” ‘While Sadako was in hospital a friend folded her 2 uuadicional origami crane. This was a highly symbolic gift because the crane, which is a sacred bird in Japan, is believed to live for a thousand years and to have the power of granting wishes. Anyone who folds a thousand, cranes wil have their wish granted.nicren's Pesce Monument at Hiros a sands of paper cranes cranes wich every bir of paper she of her wishes were for healeh, buc jan wishing instead for world she died, she had folded 644 cranes; sd che remaining cranes. They later Seb and began raising money for a monument, Som over 3,000 schools in Japan and from nine sss gave donations, and chree years lacer, in -¢ Monument was unveiled in Park. Now every year on 6 August, noraced and people from all over the Beat eaves crancs to the park. h parallel « che only ones co cultivate the art of. ned simultaneously by the ling to Spain during theic rntury AD. The Moors were excellent ‘Traditions and Innovations 1 ‘machematicians and astronomers, and intradhuced the theory of paperfolding as aid to reaching the principles of geometry. Their activity flourished in the 13th cencury and the traditions of paperfolding survive to the present day. Ir was practised and documented by the and poet Miguel de Unamuno (1864-1936). Spanish philosopher Origami today In the Wes, origami guined the reputation of being lie smote than a childs pastime, and never achieved satus as an art. For generations, European and American schoalehild n have grows up familar with wavezbombs and flapping birds, jumping frogs and rene tellers, Hostever, more recently, enthusiasts from all over the world have begun to secognize origami as an intellectual purse, as well as « highly creative and fashionable e In 1967 the British Origami Society in England was formed. It evolved from the Poctfolio Society, which had a privately circulated newslerter. Following @ suggestion by ‘Tim Ward and Trevor Harchett in the Southern Portfolio Notebook, it was decided chat 2 new society should be formed for fellow origami enchusiasts, and a magazine produced co be distributed countrywide among its members ‘The early days were very exciting for David Lister Its Walker, Sydney French and others, a they began te correspond with Lillian Oppenheimer in che United States ‘of America, and Akira Yoshizawa in Japan, together with other devorees of the art. The boundaries ia the complexity of origami creations began to broaden, and, by the mid-1970s, ic was realized that differenc techniques and folding methods could be applied to the paper, whereas, in the past, only designs originating from traditional bases had been used rout A stylized Meorigh origami Socignral milestone discoveries, by folders such as Fred Rohm and Neal Elias in the United Staves, and Max Hul that no subject was nd David Brill in the United Kingdam, proved ond tackling where an origami representation was concerned. Indeed, many modern 5s hegan co create sheir own bases. This extended the variety of models thar could he made, Elias devised a system known as box-pleating, where paper is collapsed into a concertina. By using 45-degree b subject is produced fram the same sheet of paper, for ithin chese folds, a whole range of animals and an figures can be created. Sometimes more than one cxample, a Matador and Bull, Chinaman Pulling a Rickshaw oF a Mother with Pram. Rohm invented the Simplex base, which enabled an action model of a Snake Charmer with Snake ro be folded. Compecitions among creative designers have also progressed on to new heights: in the carly 1990s a worldwide challenge was ised ro designers to produce wosk on the theme of Alice in Wonderland, models, whether individual pieces er collective dioramas, had to conform to Sir Jon Tennie!’s rawings from the original Lewis Carroll books. - * 2 ‘AsovE Alfred Bestel, president of the Brtish Origami Society (1978-1986), demonstrating the importance of perseverance 1 and dedteation 2 5 sove A fine example of modular folding: this example is by David Mitohal= however, the “less-is-more” philosophy See a> Folders, due ro the emphasis Western origami ru == technique rather than aesthetic beauty fold the working Cuckoo Clocks ae Lang, out of one sheer of paper, others mie = ion from making simple es 4s and their many variations. Long-standing Be ec Society member, John Smich, has 2c he terms Pureland Origami, where only valley folds. Paul Jackson is ction of light and dark on simple Jopts a minimalist approach in his cchatically challenging to produce a is a different discipline to invent fold elephan -ni became popular in the early 1990s. Iris So = Scsign complex origami models comprised om simply by inserting the point of we pocket of another. The incerest and om: sdular origami continues to escalate, $0 om as se by Tom Hall, consise of Traditions and Innovations From straight lines to soft curves Origami is, by its very nacure, based on geomecry ~ every crease isa straight line. This is bonus when fold inanimate or stylized models, where the main abject accuracy. However, for animate objects curved suefaces are the norm and straight lines che exception and in ovder 10 create a lifelike model a different approach is required, ‘The move into fally thrce-dimensional folding was initiated by che Japanese Master, Akita Yoshizawa. His overriding aim was to capture the essence of his subject rather than simply reproducing all che detailed feacates To do this he introduced owo key concepts, folding softly and wee folding Most origami projects require the folder to make each crease as shatp as possible so that there is either a firm crease oF no crease at all. Yoshizawa suggested thar some 25 should be made more softly chan others, allowing finished model co posiess « whole spectrum of creases, from sharp through to very gentle, However, the technical problem of addi esis that they do not read stay in place, and therefore the completed works ar and temporay Yoshizawa overcame this by wet foldingipened paper which recained irs shape he sceret behind this technique lies in the ive, called sizing, which binds the paper and provides the stiffness. Damping the the sizing, separating che fibres and Teasing py and malleable. As che paper dries our the ew position paper with soluble sizing is appropriate, and, in cher types of paper are best, such as artis = Asa technique, however, wet folding is sil by amany Folders bisa of ss aavoratit paper isdlffcule ro handle and easy x Ths fooscned fibres will separate easily, especially to be folded simultaneously. The ly in the direction of the fibres, = also a problem. In addition, due to ifficult ro make models paper, ici plex folds or numerous layers of paper. What's the appeal? orem come and go, and designers may rent aspects of the art at various times, nz work of 2 similar nature, be it animal folds, or shat you have it within you to try © models, remember chat these seca to be sought among origami designers: here are ‘Aaove Vee of flowers by Ara Yoshizaws, 1983orated Christmas tree entrances sks up one morning and declare their Szsing an origami elephant. Then there are ind with the paper uncl inspired as ater take, Both approaches can be ami, so you will find it an invaluable -g the young. For the commuter and way to pass a journey, you fold while on a bus, a vain, long before you have a cransfixed also much fun to be had in preparing and other functions, and your with your skill and dexterity re practical origami, nad challenging multi-piece Traditions and innovations 115 HOW TO USE THIS BOOK Start atthe beginning, end give yourself time te become familor with al you need to know in proparation for modal making, This nchides studying the fllowang aeenons on Techniques and Base Fobls, Only when you have leaned these procedures thoroughly con you vonfidontly start making the designs in this beck to a standord that wil please and catey you, Each chapter is ercanized so thet it begins with snp projects that progress towards more challenging designs: While you ae Fleing, consider what 4g commonly known as the Look Ahead rue: when you are follovang indivi ustretions, 8 sinaye wre® to look oto tines steps ahead, to see how things should tum fut, Sometimes, even tur tothe fal steps for any partcular medal you might be folding, so that you can see the completed project this wil ancourage yeu enormously. Do net alow ‘yoursato boome Hlscouraged: porsovere, try and try again, tke your lime, and enjoy your folding ANGHT A etrng of 1,000 eranes folded by members of the riish Organ SecietyA Gallery of Origami Masterpieces The inspirational paper masterpieces created by the world’ finest origamists are truly stunning, s years of practice to develop the dexterity nce to fold pieces such as David Brill’s ‘magnificent animals or Alfredo Giuncals miniature creations, and unarguable natural artistic skill to be able 10 create such interesting and innovative designsrange of designs by om all corners of the world, y of materials and folding phe @ masterpiece. $5 Intersecting Tetrahedra BELOW The original model, which measures 15cm x {Sem in x 6in), was designed by Tom Hull and folded from ordinary paper. Fellow American Andrew Hans decided to see whether the same model could be folded out of American dollar bills Coften the proportions of the paper cen make « difference, of course). Andrew Hens, 1999 Shell LeFT Many folders enjoy the challenge of modifying an original design, either by themselves or by enother creator. Here, American enthusiast Angela Baldo has produced a variation on a classic seashell design by Toshikazu Kawasaki, the principle being the seme, that of a spiral twist to complete the lock. The use of @ topographical map from ‘a US Geographical survey is very striking, Angela Baldo, 1999Wolf and Cubs LEFT The recognized master of origami is the Japanese expert Akira Yoshizawa, who has given the world many wonderful designs. Mr Yoshizawa continues to produce work of an amazing high standard, exhibiting throughout the world afine exponent of wet folding, and has developed his own special paper. This wolf and cubs is an example of his mastery. Akira Yoshizawa, 1995 an an original rose: fel created several ycara ago ome a classic. This his om (2%) in e5 a typically cleve t, Which sees the tube, before“LEFT Often the presentation of ‘origam’, however simple, is the s most important pert of enjaying your art, and the making of _ greetings cards is something that “many folders consider. Award- “winning card maker Ruthenne _ Bessman (US) uses simple and _ traditional folds to produce elegant result ae “Puthanne Bessman, 19990ich designer Eric Joisel ently devised his own particular style of producing ing different kinds of paper, in a seemingly free style of sculpture. Those that argue as to whether origami is an art form or not might be swayed to the former opinion by Erie's beautiful eations. He has sold many of his models to enthusiastic buyers around the world oisel, 1989 yi Paper Crystals VE LEFT, ABOVE AND RIGHT from a book of the seme me, Paper Crystals are ular constructions matle of ple units, designed by ishman David Mitchell. David written several books on ular folding and paper zzies. and continues ta p new ideas within this lar type of origami d Mitchell, 1989 and 1995,Boxes LEFT Using intricate erease pattems and tessellations, American Chris Palmer's boxes and flowers are collapsed into a certain shape, known es 6 “tato”, then completely unfolded, new ereaces added, and collapsed ‘once more in varying stages to give beautiful symmetry end form. The smallest box is Sem square Uéin) and the largest is 10 cm square (in). Chris Palmer, 1996 Spring into Action LEFT This action toy was designed by Welsh folder Jeff Beynon in the early ninoiies. There are lot of pre-creases made before the twist-collapse is performed, and it ig not an easy design to repro duce accurately. One holds the model, which is 2.5m (lin) when by the centre wheel, and squeezes gently. causing the spring action and the model to extend to 17.5om (6xin). Jeff Beynon, 1991Paper, Techniques & Base Folds28 Paper, Techniques &¢ Base Folds _ (paper ‘Although most origami models can be folded from almost any type of paper, there ae certain designs that beg for che use of specialise maresial, whether purely for aesthetic beauty, or because of che weight and thickness of the chosen medium. A.wide variety of interesting and unusual ppapets can now he purchased from gift shops, stationers and specialist shops alike, or even found around the home. Enjoy experimenting with different types of paper: Specialist origami paper Pre-cut packs of multicoloured origami paper, available in a wide vaviety of sizes, colours and patterns, are not chat easy co find locally. Thankfully, origami societies around the world have an excellent mailing service supplying different types and sizes of paper. as do a number of specialist suppliers. This kind of paper is faelyAlimsy, yer will erase well, so i is ideal for practising your models, hough you may prefer to use a different marerial once you have mastered @ particular design. Duo paper Paper with a differen colour on the reverse side isa eat ase co origami enchusiass, a8 it helps provide areas of alternate colour to finished models Available in preci seca wih Ou Can hott hl wh paper in standard-size packs end even in rolls, Look ‘out for paper that is described as ‘fadeless duo” and is sold as art material ip cad Textured paper ‘As well as patterned paper, there are also many different kinds of paper available thac have a texture to the surface ‘This proves particularly useful when folding animals and other living creatures, as ie enhances the realism of the subject. Such papers as elephant hide, Ingres and watercolour can also be ideal wer folding mediums rm i oe. 8Paper, Techniques & Base Folds 27 Wecllic. foil, opaque & itimy papers ome of the more difficult materials to work you persevere the results can Jook spectacular. foil is widely available, and this material has y of being able to be curved and moulded. Care however as some foil papers, thin plastic < opaque paper can be quite difficult to crease rsed creases can crack, whiten or even split. Pecerned paper an be wonderful paper to fold with, as ie is sturdy (medium weight) and nowadays there is soice around. Look out for musical manuscript, satermark-parterned paper, wood grain seesaom and abstract gold, black and silver colourings ps and the larger department stores. Washi & other handmade paper In specialise paper shops you can buy Japanese washi apes, which isa soft, fbsed material. This and other handmade papers from around the world give lighter creases to your folding and a softer, less angular look to final models. Materials from around the home Before you go searching for special or expensive paper 10 fold with, remember chat your home may be already a ‘gear source of folding material. Copy paper: napkins, spare wallpaper, index cards, bank notes (those foreign, currencies saved from holiday expeditions), and cven magazines or newspapers can be used to make inceresting and practical origami models.equipment and preparation few essential origami tools to purchase, or which, such as scissors and rules, ae household items, niques to earn. However, i is worth and making sure thar chey ate within reach before you cif with tools you might need, many of begin folding. spray adhesive guillotine self-heal cutting craft knife Equipment | edge. A cutting knife is a very useful cool as its extremely Although plenty of origami models ean be made with | sharp blade makes cutcing through any thickness of paper ‘nothing mote than a piece of paper and a pair of hands, simple, Always use a metal ruler when working with a craft there are a few pieces of equipment that are essential to a knife and rest the paper on a selfhealing cutting mat. This dedicated origamist. Spray adhesive is useful for sticking ewo | will not only protect the work surface, but will also prevent sheots of differenc-coloured of textured paper cogether, but slipping and thus accidental cuts, as well as extending the always follow the safety instructions. A guillotine is life of the blade. A sturdy pair of paper scissors can often be worthwhile investment ifyou are practising origami on a just as effective as any other cucting tool, but male sure chat regular basis. They come in a variety of sizes and a range of you draw a faine, accurace pencil line on the paper before pices and have de advantage of cutting a very stright you star ecung a guillotine Secs you will require a specific size and a guillotine is a great op bere, particularly as you ean == your paper with the straight ige to ensure that you hat is ar ight angles zo « edge. Ie is possible 0 cur scchree sheets ata time, bue you cleaner cut if you only cut fad 1. Place one edge of the paper fush With the ruled edge of the quiletine Paper, Techniques & Base Folds [ 29 2 Holding the paper in place with one hand, use your other hand to slide the cutting blade across it, making 2 clean sccurate cut. y mounting Se mounting evo sheets of Seem mecther, back to back, isa que for chickening an se once: paper fora ezrin sm = for providing a chosen sees of colours. Spray Sees foil paper co tissue paper rial that can be shaped curved and Ss ore easily than Seeessional paper, while the rissne PS = more realistic ook to 2 Carefully placo the raverse side of the seeond sheet (the side you do not wish 10 be visible) an top of the upturned sticky first sheet. The eocond cheot should ideally be slightly amsller than the first, 60 that a thn border will appear ‘around the edges ofthis second sheet. 4 witha crat knife and ruler, or with a cgullotine, trim off the excess paper around the edges Dp ce workcurtece with ct two sheets of paper, down on your epraying soray acheawe. sprey a 5 the paper 3 Carofuly emooth out any vines for creases in the back-costed layers by running your hand over the upper surface, pressing femly as you go,30 | Papee. Techniques &¢ Base Folds techniques and tips ind techniques and ba How to fold Th golden rule is to have img smooth and flat to use as Sliding surface, preferably of a chan the sheet of paper chat il che creases in the paper, cin a diection away from the edge or corner neatest fling bottom ro top. s Smply co make the Folding © you more control she paper than if you tried to + edge or eomner «by folding side w side. possible, the sgeaphs wil follow a natural wecace so that you will not = position or cscrestion ofthe paper in order to fom you. Always make Sem, shaxp cxeases. The neater and moe make the creases, the ned model will appear. sry to finish the model. ex, rake care and enjoy what you sx folding Do not be discouraged if mpc ends in pent, because you have not complete the model. IF ic folded as the illustration cose, fost say again, ‘you arc probably keen to get started on the this scetion first so that you understand the procedures before you 2 model. Learning how to fold your paper correct, Ways to fold and familiarizing yourself with the photograph step instructions are key stages to successful models. The more ‘you practise folding the basic techniques the more you will enjoy making origami. ‘Technically, there are only owo actual ways to fold: either a valley fold, where a corner, edge or flap will emain to the front and in sight; or a mountain fold, taking a portion of the paper behind the rest of the model and ous of sight. All other folds are variations of the valley and mouncain folds. y fold 1 Fold the lower edge of the paper upward, to an arbitrary pont. Hold the {old in plece with one hend. and smooth ‘out the erease with the other hand. 2 Thies 6 valley Cor forward fold, Mountain fold 1. With fingers and thumbs atthe ends Cf the crease you intond to make, fold ‘the paper behind, pinching in the fold Here, the fold is made to a corner. 2 Smooth out the orease. Thiele a mountain (or backward fold. PH a8 a PiPre-crease will fold and unfold the paper ave 9 oreane which will act ine for # later defite fold. 2 pro-crease. Pinch crease | Seresces when you are making a not actually want to specugh every layar of pager oF at = way across the paper, but sete 2 tay mark or short 2 To do this, simply apply par of the fold act 25 a guide fora ister ee sening & small crease mark | Dividing into thirds Offen you will need co be able o fold the paper accurately into chree equal parts or thirds. This procedure is 2 lige experimental, so take your time and fol carefully. 1. Using a rectangular sheet of paper, ‘and with the shorter sides horizontal, fold the lower edge upward, t0 8 point which you judge to be onesthird of the way down from the upper edge, Make = very soft crease, 2 Fold the upper edge down over the section of paper folded in step 1. Make « soft crease. Unfold the paper. If you have estimated the flap in stap 1 ‘correctly you should now have three horizontal barders of equal depth. Each cuter raw edge could then be folded Inward, and would meet with one of the ceroases made In steps 1-2. IF you are slightly out in your estimation, then try ‘goin, making the initial ereaco slightly higher or lower than before. Paper, Techniques & Base Folds [31 Pleat fold “This isthe concertina effec produced ‘when a flap is doubled back on itself 1) Make two parallel valey folds in & heat of paper. Tum the paper over so that these horizontal creases aro now mountain creeses 2 Pinch the lower erease batwoan fingers and thumt of each hand, Side this erease and the paper beneath away from you, until you can lie it upon the ‘upper crease. Flatten the model. Aeove Tho completed pleat fold.32 | Paper, Techniques & Base Folds Special moves There are several special moves in origami, standard techniques shat are used in countess models in one form or another. Once you have learned these basic routines you will akways be able to adapt your skill and knowledge to whichever project you a acing Inside reverse fold This is one of the most common procedures, which occurs in two basic forms: tucking a fap inside the model oor changing the angle of a point. Tucking a flap inside 1 Fold rectangular sheet of paper in halt and rotate the paper 180° so that the fold you have just made now runs horeontaly arose the top. 2 Fold the vertical aide ot the night down 90 that it les along the lover ede. 3 Unfold stop 2. 4 By sighly oponing out the fold made In stp 1 you vl 9 that the exease mace instep ? rns through both sides ofthe paper: One of the appear 28a vale fl, the other as a mountain fold. Both neod te be mountain folds. 20 pinch the valley fold to 0 mountain fold 2 will, 5 Pushing inwards on the spine crea that originally ran along the upper edge ofthe right-hand portion of the paper. allow the triangular fap to be turned Inside out, as it's pushed between the ‘outer layers of the paper. 6 Allow the two outer corners to come back together as you Tatton the paper. ‘anove The completed inside reverse Fold Folding a point 1. Fold a piece of paper into Kite base (see p.38), then fold in hal lengthways along the contre creas 2 Moke an array valley fold as shown, binging the point downwards, and changing the angle of the point 3. Unfold stop 2open aut the two lower 5 atthe right, that run to 128 how the crease made through both layers of ont and back. Ones again, ring the V 2 folds (change the 3 valley fold 10.8 mountain | = yu begin te push down on the unning along the upper "= paper to tum inside out, © ofthe point bends ‘and is pushed down = bro outer layers. Outside reverse fold | ‘This move is similar to the inside reverse fold, except thatthe layers of paper ate wrapped around the outside in onder to effect the angle change. hi 1 Prepare the point by folding @ Kite bbaso (a0 9.98), then fold this in half lengthways using the centre crease. 2 Moke an arbitrary valley fol, baingng tho tot the point dowowrds 4 ilustrated, oe 3 Unfold step 2 4 Open out the two upper edges leading to the tip af the point. As with the inside reverse fold, the evense made in step 2 row passes through both layers of papar, front and back, ae 5 Using the existing V shape of 15, turn the point outside on its The spine crease leading to the tip of the point ie changed in dretion from a valley fold to @ mountain fold 6 Allow the front anc 2 layers to ccome back together the paper you flatten ‘sove The completed outside reverse fold Paper, Techniques & Base Folds | 3334 [Paper Techniques 6 Base Fels Rabbit ear This is where swe adacene edges are folded io sales. As the two cdges come sogetbes they ae squashed se foem another point 1 Fold a square of paper in half from comer to comer, Unfold. 2 Rotate the paper arcund so thatthe crease made in step 1 is now vertical 10 you. then fold the paper in half once more, eamerto comer, making & second evease perpencieular to the First. Unfold 3. Fold the lower lat sloping edge upward to lie along the horizontal contre crease. 4 Unfold stop 9, then repeat step 3 using the lower ight sloping edge. 5 Unfold step 4. Simultanaously refold the lower sloping edges as folded in steps 3-4, to the centre crease Squash fold “This is where a flap is squashed down. ino a new postion. 11 Fold a aquare of paper in half siegonaly then in half again. Unfold the second stage and arrange so that the folded exge runs slong the top. Reise a the fght-hand fap of the model upward a cn the vartical centre crease, so that i fe at right angles to the folding surface 6 Squeeze the comer nearest to you to‘ point, using the vertical diagonal crease. The new point wil project upwards at right angles to the rest of the model siait The completed rabbit ear, 2. Seperate the two layers of the raised flap with one hand, and with your ‘other hand squash the paper fat bringing the spine erease of the raised flap dawn tole along the vertical TYE eRUN miawt The: completed ‘squash fold,_Crimp fold | useful move for adding a'3D tor sculptured look to models 2 rectenguiar sheet of paper in voging the shorter sides together. the paper around so thet the 5 ere now horizontal, Make y valley fold in the paper, at halfway mark, but at an angle, portion of paper that you are 5 to rest offset to the let. Jpper flap back downwards akong another vallay crease, ou look, this crease =e same place as the erence 0 that when you pull downward, you do 80 as ably go. 3 Open out all the oveases. You wil thatthe two creases you made in steps 1-2 pass through both layers of the paper, Front and back. Whether you Want fo. make an inside or an outeide crimp (see final pletures), you need to adopt the seme principle as with the Inside ancl outside reverse folds: on one side ofthe madel the valley anc ‘mountain creases are in the apposite Asove The completed Dutsicle crimp fold completed inside erimp fold36 [| Paper Techniques & Base Folds Swivel fold needed 2 lustrace and ein half, commer to 2s to pre-creaee the arrange a8 a ‘comer and tole long the ht corner directly og # verliesl crease per edge, This withthe crease 4 Unfold stop 3 5 Now. keeping tho triangular Nap folded in sep 1 In place rfo the crease from step in the underside layer only tic wil cause the paper of the upper layer tthe righthand side to le up, and not to We fat 6 The paper should naturally “crimp” erase to the let, where the verical valley evease in the upper layer ofthe paper pulls the excess material with i The central area of paper then seems to “swivel” ino place, Flatton the model The completed swivel fold Sink fold ‘This move entails a closed point to be sunk inside the model. You may need to practise chis move several times Irfore you perfect i. ae 11 Prepare @ Weterbomb base (ace pp. 40-19, ae. 2 Fold the top comer dawn by sn acitrary amount 3 Unfold step 2, ten open the Waterbomb base out éichtly, and look the moda! from abovsPapen, Techniques 8 Base Folds | 87 folding Making origami with damp paper allows you to mould and shape the ‘model to 2 greater degree chan you can with dry paper. Stare off with a simple ‘model that you have folded many times before, one without pointed ‘corners and sharp creases. The larger © soe centre of the paper you wil small square, which was the ereage mode in step 2, xh all he layers of the h-crenee all theee creases a8 esse folds. Some are mountain his canral square inwards ‘cases, carefully collapse cm base once again Be pacer ensuring that there seme es fo the lt nl to Hans to =~ Waterbomb base. What se sew al cauare has now become Pe 2 model. The completed the square you start with, the thicker the paper you can use. 4 To dampen the paper, use a damp sponge or absorbent cloth and corefully brush both sides of the paper unl the sheet ie uniformly damp. The key word te damp; net wet. Only experience can really tell you how damp the paper needs tobe, but fit becomes shiny allow ito dry slightly bafore procoeding. 2 Once a erease he boon mad, you can use the warmth of your fingers to partly dry out that area so wl retain ite sha 3 Continue to crease the paper while ‘moulding the folds as required. Master folder Robert Lang recommends using masking tape to help reinforce weak areae of the paper Couch ae where several creases meet). The tape can be removed when the paperis dy. 4 Since the sim of wot folding is ~enimation” of the fod, you should encourage three cimensionalty wherever possible and keep non-escantial creases tas minimum, A consequence ts that most of your Flding will have to be performed in the ait 5 Tho foo! and appearence of wat-faldect covigari is impossible to ‘match in any other way, eigues 8c Base Folds base folds out ancient Japanese origami tradition, as well as by contemporary experimentation, cern basic Folds, or bases, have evolved. These are standard and easily secognizable starting points from which hundreds of different models derive, I is worth commicting these co memory along with the miscellaneous cps and techniques ‘rom the preceding pages. Allow them to become familias, enjoy folding chem, and cry co understand the crease patterns and formations of each of them, as chey will appear in so many wonderful designs. Almost anyone can do origami, as long as they take the utmost care in following the insert 1s. Do not assume anything, but joak closely at each phocograph and text caption, until you arly understand what you are required to do. With time practice, you will be able to fold many of the models 's book without reading the text. AsovE Buttonhole flower made using the Kite base ‘and Watersomb bas: 1 Begin by folding aquare of pape nhs clagonaly. banging together two opposite corners. Unfold the paper and rotate it 0 thatthe crease you have just made le verical to you, that ‘rune from tho upodr eoenor te tho lowor corner, whan the eper is arranged ae a diamend, as shown. 2 Fold each of the lower sioping cuter edges inward to lie ‘long the vertical crease ine made In step 1, The completed Kito bate. ne TV CCCUrTR”__Slintz fold sm a Yiddish word of otigin, a blint is literally a x folded to contain a her filling. Because a ided with all the outer 3c centre, the name was -shon Legman and other Site paperfolders to refer to the act Peking all the four comers of the sees of paper to the centre, There “snes peincipal methods to achieve ee Sete is bese when teaching origami eS 2nd to the blind and gees schecd, fori is far simpler Spee See 2 folded edge than to cry 10 See Se Ser omer comers to point Pee eae of pape. mown here, The second mene (Rema oF paperin hal temgng together oppasite. Geis rotate the poper so that sat made is now the upper ste lower comer, then fold in Seem to top. Thi will add a secensiculr to the fist ee rans fro ase Unfold once more. 2 Carefully fold each of the four cuter corners in turn to the centre that ie where the two diagonal creases you ‘made in step 1 Intersect. There should be no overtap with any of the new comers formed, and al the raw edges should run evenly side by side tothe centre. The completed Blintz fold method 2 11 Besin with the predominant colour face upwards. Arrange the paper on your folding surface 20 that i appears as 9 square, in ther words, with horizontal ana vertical sides. Fold the lower edge ‘upto the upper edge, then rotate the paper 180° so thatthe fold you made in step 1 pow runs horizontally along the upper edge. 2 Fold the lower outer comers, single layor only, upward, 60 that what wore the vertical raw edges now le along the upper horizontal edge Paper, Techniques & Base Folds [ 39) 3 Tum the papor ovar and ropeat stop 2 on thi side ofthe poper. 4. Toke hold ofthe two independent the ight anole of the ‘rlangular form ereated in stop 8, and pull pai 5 Lay the poper ft on your fleing curiae, wth the bintzed lps on top The completed Bln fold40 | Paper, Techniques & Base Folds |Fish base 1 Begin by folding the Kit bas 2 Tum the paper over. Keeping the sharper of the two points at either end of the diagonal fold atthe bottom. '3_ Fold the lower sharp point up to the top, folding the model in hai 4. Tum the paper over, keesing it arranged the same way. 5 At the lower haf of the model, you hava two independent flaps. Holding down the right-hand half of the medel flat 10 your folding surface, take hold of the loose outer commer ofthe fap on the left sie, and pull it towards you lowing the pocket behind to open up ‘As you do this, carefully begin squashing the cuter left-hand edge inward, lining up the naw ereages that ‘you are making wth both the upper corner and the corner you have just pulled down and repositioned. © Stop 5 completed, 7 Repeat step Son the aght side of the model. The ‘completed Fish base, Waterbomb base 1. Fold s square of paper in half, brnging opposite comers together Unfold, then rotete the paper so thet the fret eroase is vortcal to you. Fol in half comer to comer once more, adding ® pre-craase that is perpendicular to the fret crease. Unfold once more 2 Tum the paper over, and make a further pre-ctease. folding the paper in half sce to side, them unfold ane! tuen back ever to the orginal side. The agonal creases will appear ae valley \whilo tha remaining crease, which nade to-be arranged horteontaly scross the paper, is a mountain 3. with one finger, push down on the paper atthe centre, The creases in the paper wil flex cently, andthe centre wl how indications of becoming concave,er between hand along 2 point jst wade in 2 pepe apse into Preliminary base 1. Using a square of paper with the predominant colour face up, fold the paper in half, bringing opposite comers tagether, Unfold the paper then fol the paper in halF again, bringing the remsining twa comers together: Unfold goin, and turn the paper over: 2 Now foe the paper m half eit to side in both rections, each time Folding the outer edges together end unfalding “ha principle i the game 96 when folding the pre-renses instep 1 3 Retold one of the creases made in step 2. Then toke hold oft between fingers and thumbs of either hand. placed about halfway across each side ofthe paper. as shown, Paper, Techniques & Base Folds 4 4 In an upward circular motion, bring all your fingers and thumbs together simultaneously, eausing all the four cuter earners ofthe paper to meet at the top. 5 Flatten the model. This fs achieved by swinging the lenge fap projacting upward down to one side, whilst swiveling the flap underneath the mode! across tothe other side, There should row be tw flaps pointing tothe lft, and two pointing te the right. anove The completed Preliminery base.21 ques & Base Folds __Bird base Preliminary base, and begin by ‘the paper so that the open 2d. where the raw edges ancl comers pointing toward you. Fold the = siping edges of the upper layer ward o ie along the ‘3. Unfold steps 1-2, so that you are back with the Protiminary base. 4 Using the eresse made instep 2. itt up the sage ayer of paper atthe lower corner. and rae it upward. The paper ‘pens out, and this corner now comes to lo uoon your folding surface 5 Now allow tho sides to be squashed inword to meet the vertical contra tine. Steps 45 are often referred to 08 8 petal fold G Ropoat stops 1-5 fn the reverse favo. ‘The completed Bird base. Frog Base 1. Bogin with a Proiminary base, and arrenge so that the open end, where the raw edges and comers meet, lies Peinting toward you. 2 Using the vertical centre crease as ‘an axle by which all the lage Wiangular ape can he rotated, lit up one flap st the ight, so that it projects outward st Fight angles tothe rest of the model 3. Separating the two layers of this flep, place one finger inside the pocket, ‘an allow the paper to open and hollow fut. With your other hand, squash the paper dow, allowing the spine crease along the upper edge of this Map to ‘come to rost along the centre fnee ebling @ kite shape, Using sw have an upper section of eomncs ans once ogein, fold the sae tot v row raise a second large "Fight, and repeat steps = Peoeet stops 9-4 inthe same wey ining twe large lap, you proceed. his kite shape to the lft, i 7 With the squesh folds {rom stop 6 showing on the upper surface, fold lower raw edges either side inward tole slong the vertical contre 8 Unfold step 7 9 We are now going to perform a petal {old elmer to that of the Bird base. Carefully lft up the rew edge which cuts cross the pager, connecting left and right outer comers of the model. Taking the single layer only, fold the edge upwards, meking s valley ereage horizontally across the paper, joining the upper extremes of the creases ‘made in step 7. You will need to pinch this crease in manually. Allow the two outer edges to squash inword to the ‘contre line Paper Techniques 8 Base Folds | 43 10 Carefully manipulate the paper 80 that this petal fod nas up evenly with the vertical centre ine, were the new point should rest 11 Step 10 completed on one fla. Fey at steps 7-10 on the three slmilar facas, rotating the layers around the contral vertical axis 10 accomplish thi, ici Tho completed Frog base.Traditional Classicscrane fog paper in which slits are cut, the square into several ares. The Hiroshima ually decorated ngs of a thousand coloured cranes. 2 On the upper layer only. fle the two outer edges inwerd to he slong the vertieal onal desiga that many Japanese sn to fold. The crane is a symbol of