BOS 2009 Nottingham Convention

.

British Origami Society Spring 2009 Convention Model Collection Nightingale Hall, University of Nottingham

Edited by Tung Ken Lam and Mark Bolitho 27–29 March 2009

Contents The Models

1

1 Simple 1.1 CD Case by Max Hulme . . . . . . . . . . . . . . . . . 1.2 Heart Arrow by Miguel Alfonso Valdivieso . . . . . . . 1.3 Stellar Snap by Jorge Pardo . . . . . . . . . . . . . . . 1.4 Andean Boy by A´ıda Urrutia . . . . . . . . . . . . . . 1.5 Double Flower by Loes Schakel . . . . . . . . . . . . . 1.6 Flower Dish by Loes Schakel . . . . . . . . . . . . . . . 1.7 Me Spin Long Time for You by Bennett Arnstein . . . 1.8 8-Windmill Octagon Medallion by Pavarin & Yamauchi 2 Intermediate 2.1 Invisible Man by Gilad Aharaoni . . . . . . 2.2 Evi’s Chicken Egg Cup by Evi Binzinger . . 2.3 Piano by Juanfran Carrillo . . . . . . . . . . 2.4 Calligraphy Pen by Yannick Gardin . . . . . 2.5 Benzaiten by Luis Carlos Maya . . . . . . . 2.6 Bird in Flight by Mike Bright . . . . . . . . 2.7 Bottle and Stand by Mike Bright . . . . . . 2.8 Standing Heart by Laura Kruskal . . . . . . 2.9 Kusudama by Jaime Ni˜ no . . . . . . . . . . 2.10 Kusudama 2 by Jaime Ni˜ no . . . . . . . . . 2.11 Boats Ball by Ilan Garibi . . . . . . . . . . . 2.12 NicEle by Nicolas Delgado . . . . . . . . . . 2.13 Manta Ray by Jaime Ni˜ no . . . . . . . . . . 2.14 Guinea Pig by Yann Mouget . . . . . . . . . 2.15 Batman by Yann Mouget . . . . . . . . . . . 2.16 Cat by Max Hulme . . . . . . . . . . . . . . 2.17 Toucan by Tom Defoirdt . . . . . . . . . . . 2.18 Parakeet by Tom Defoirdt . . . . . . . . . . 2.19 Santa Ana Bowl by Boaz Shuval . . . . . . . 2.20 Motorised Crane by Carlos Ossa . . . . . . . 2.21 Magic Spyglass by Tony O’Hare . . . . . . . 2.22 American Luna Moth by Tiên Quyêt Hoàng 2.23 Square Pyramid 36◦ by John Montroll . . . 2.24 Song Bird I by Swapnil Shinde . . . . . . . . 2.25 Song Bird II by Swapnil Shinde . . . . . . . 2.26 African Elephant by Mattias Eichel . . . . . iv

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1 2 3 6 8 10 12 14 16

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19 20 22 24 27 30 32 34 36 38 39 40 43 44 46 47 48 50 53 56 58 60 68 70 73 78 81

CONTENTS 2.27 2.28 2.29 2.30 2.31 2.32

CONTENTS

Card – Guitar by John Morgan . . . Red Knot by Andrew Hudson . . . . Rooster by Marc Vigo . . . . . . . . Bird Bracelet by John Morgan . . . . ˇ cek . Fir Tree by Sanja Srbljinović Cuˇ Three-headed Crane by Jared Needle

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3 Complex 3.1 Rabbit by Mark Bolitho . . . . . . . . . . . . 3.2 Buffalo by Huy Pham . . . . . . . . . . . . . . 3.3 Ox by Cheng Chit Leong . . . . . . . . . . . . 3.4 Lion Mask by Victoria Serova . . . . . . . . . 3.5 Beating Life into Paper (CP) by Tom Defoirdt 3.6 Leaf-wing Butterfly by Robert Lang . . . . . . 3.7 Rat by Eduardo Julio . . . . . . . . . . . . . . 3.8 Lion (CP) by Nicola Bandoni . . . . . . . . . 3.9 Dachshund by Artur Biernacki . . . . . . . . . 3.10 Dragonfly by Artur Biernacki . . . . . . . . . 3.11 Samurai Helmet Beetle by Julio Eduardo . . . 3.12 Common Raven by Quentin Trollip . . . . . . 3.13 Wild Boar (CP) by Nicolas Terry . . . . . . . 3.14 Three-headed Dragon by Fernando Gilgado . . 4 Robert Harbin Celebration 4.1 As I Knew Him by David Lister 4.2 My Memories by Mick Guy . . 4.3 A Tribute by David Lister . . . 4.4 Bow Tie (Traditional) . . . . . 4.5 Bat by Robert Harbin . . . . . 4.6 Yacht by Toshie Takahama . . . 4.7 Dancers by Neal Elias . . . . .

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Index

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106 107 112 118 125 134 135 138 143 144 150 158 162 170 171

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188 189 198 199 203 204 208 209

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v

CONTENTS

Intermediate

Simple

CD Case Max Hulme, 2

Andean Boy A´ıda Urrutia, 8

Me Spin Long Time for You Bennett Arnstein, 14

Heart Arrow Miguel Alfonso divieso, 3

Val-

Double Flower Loes Schakel, 10

Stellar Snap Jorge Pardo, 6

Flower Dish Loes Schakel, 12

8-Windmill Octagon Medallion Pavarin & Yamauchi, 16

Intermediate

Invisible Man Gilad Aharaoni, 20

Calligraphy Pen Yannick Gardin, 27

Evi’s Chicken Egg Cup Evi Binzinger, 22

Benzaiten Luis Carlos Maya, 30

vi

Piano Juanfran Carrillo, 24

Bird in Flight Mike Bright, 32

CONTENTS

Bottle and Stand Mike Bright, 34

Intermediate

Standing Heart Laura Kruskal, 36

Kusudama Jaime Ni˜ no, 38

Kusudama 2 Jaime Ni˜ no, 39

Boats Ball Ilan Garibi, 40

NicEle Nicolas Delgado, 43

Manta Ray Jaime Ni˜ no, 44

Guinea Pig Yann Mouget, 46

Batman Yann Mouget, 47

Cat Max Hulme, 48

Toucan Tom Defoirdt, 50

Parakeet Tom Defoirdt, 53

Santa Ana Bowl Boaz Shuval, 56

Motorised Crane Carlos Ossa, 58

Magic Spyglass Tony O’Hare, 60

vii

CONTENTS

Complex

American Luna Moth Tiên Quyêt Hoàng, 68

Song Bird II Swapnil Shinde, 78

Square Pyramid 36◦ John Montroll, 70

Song Bird I Swapnil Shinde, 73

African Elephant Mattias Eichel, 81

Card – Guitar John Morgan, 86

!"

Red Knot Andrew Hudson, 89

Rooster Marc Vigo, 92

Fir Tree ˇ cek, Sanja Srbljinović Cuˇ 98

Three-headed Crane Jared Needle, 102

Bird Bracelet John Morgan, 95

Complex

Rabbit Mark Bolitho, 107

Buffalo Huy Pham, 112

viii

Ox Cheng Chit Leong, 118

CONTENTS

Lion Mask Victoria Serova, 125

Rat Eduardo Julio, 138

Robert Harbin Celebration

Beating Life into Paper (CP) Tom Defoirdt, 134

Lion (CP) Nicola Bandoni, 143

Dragonfly Artur Biernacki, 150

Samurai Helmet Beetle Julio Eduardo, 158

Wild Boar (CP) Nicolas Terry, 170

Three-headed Dragon Fernando Gilgado, 171

Leaf-wing Butterfly Robert Lang, 135

Dachshund Artur Biernacki, 144

Common Raven Quentin Trollip, 162

Robert Harbin Celebration

As I Knew Him David Lister, 189

My Memories Mick Guy, 198

ix

A Tribute David Lister, 199

CONTENTS

Bow Tie Traditional, 203

Bat Robert Harbin, 204

Dancers Neal Elias, 209

x

Yacht Toshie Takahama, 208

Chapter 1 Simple

1

1.1. CD CASE BY MAX HULME

SIMPLE

CD/DVD Cover

20th October 2008

Begin with A4 or Letter size (& the CD!) 1

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3

45°

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5

6

7

8

9

11 10

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© Max Hulme

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1.2. HEART ARROW BY MIGUEL ALFONSO VALDIVIESO

CORAZÓN FLECHA Miguel Alfonso Valdivieso Miembro de la Asociación Bogotana de Origami Modelo creado en Septiembre de 2007 Diagramas: Andrés Fernando Sierra

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2

4

3

3

SIMPLE


5

8

SIMPLE

7

6

9

10

11

final

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5

SIMPLE

1.3. STELLAR SNAP BY JORGE PARDO

SIMPLE

6

1.3. STELLAR SNAP BY JORGE PARDO

SIMPLE

7

1.4. ANDEAN BOY BY AÍDA URRUTIA

SIMPLE

8

1.4. ANDEAN BOY BY AÍDA URRUTIA

SIMPLE

9

1.5. DOUBLE FLOWER BY LOES SCHAKEL

SIMPLE

Double Flower

15-08-2000 [Ontw_057]

1 2 3 LS

4 5 LS

LS

7

6

LS

Unit complete make 8 8

10 9

Join all units similarly ( 8 to 10) C

Model: Loes Schakel

[The Netherlands]

Page 1

C

10

Diagrams: Kees Schakel

1.5. DOUBLE FLOWER BY LOES SCHAKEL

SIMPLE

Double Flower

15-08-2000 [Ontw_057]

11 12

Repeat 7 times

LS

13

Repeat 7 times

C

Model: Loes Schakel

[The Netherlands]

C

Page 2

11


1.6. FLOWER DISH BY LOES SCHAKEL

SIMPLE

Flower and Dish

15-08-2000 [Ontw_056]

1 2 3 LS

4

5 LS

LS

6 7

LS

Unit complete make 8

8

10

9

Join all units similarly ( 8 to 10) C

Model: Loes Schakel

[The Netherlands]

C

Page 1

12


1.6. FLOWER DISH BY LOES SCHAKEL

SIMPLE

Flower and Dish

15-08-2000 [Ontw_056]

11 12

LS

Repeat 7 times 13

12

1

Repeat 7 times

Repeat 7 times

2

LS

14 13

C

Model: Loes Schakel

[The Netherlands]

Page 2

C

13


1.7. ME SPIN LONG TIME FOR YOU BY BENNETT ARNSTEIN

SIMPLE

ME SPIN LONG TIME FOR YOU by Bennett Arnstein Page 1 This is a blow top that spins for a long time after you stop blowing. Start with the traditional windmill (pinwheel) invented by Frederick Froebel.

2

1

Fold the slanted edge up against the vertical centerline.

Bisect the angle at the tip of one blade. Allow the crease to run under the next blade. Note that the slanted edge is folded up against the horizontal centerline.

c b

a

c a

3

1 - 6

b

4

5

Note the three creases: a, b & c. "a" is a 45 crease made when the pinwheel was first folded. "b" was made in step 1, and "c" was made in step 2.

Fold creases a, b, and c all at the same time. Push where shown and the mountain crease will form automatically as the blade moves to the position of step 3. Each blade has now been folded to its final position and then unfolded.

6

This is the final position of the first blade. Unfold the blade to the position of step 4, and fold steps 1 - 6 on the other three blades.

7

C Bennett Arnstein 1 / 31 / 2006 14

Now fold all four blades to the final position, one at a time, so that each blade lies on top of the blade next to it.

1.7. ME SPIN LONG TIME FOR YOU BY BENNETT ARNSTEIN

SIMPLE

ME SPIN LONG TIME FOR YOU Page 2

9

8

10

12

11

Slide the fourth blade under the first blade and over the third.

The folding is finished, but the blow top is not finished.

13

14

Holding the octagon base in one hand, slightly lift up the four blades with the other hand by grasping the tip of one blade and gently pulling up. Place the top in the palm of one hand and massage it with the thumb of the other hand so that the entire top, base + blades, becomes rounded, concave side upwards.

15

Place the top on a smooth hard clean dry horizontal surface and blow gently straight down at the center. If the base was flat with a sharp point at the center, it would not spin as long because any slight unbalance would cause it to tip over and rub on the horizontal surface. The rounded bottom of the base prevents any small unbalance from slowing down the spinning. C Bennett Arnstein 2 / 1 / 2006

15

1.8. 8-WINDMILL OCTAGON MEDALLION BY PAVARIN & YAMAUCHI

SIMPLE

8-WINDMILL OCTAGON MEDALLION Franco Pavarin's "Girandola" Page 1 Start with the traditional windmill, invented by Frederick Froebel, with the four vanes sticking straight up from the base.

1

2

Swing the rear vane and the front vane both to the left, along existing creases.

Hold the left vane in your left hand and the right vane in your right hand. Mountain-fold the diagonal of the square base so the rear vane and the front vane both swing down and meet below the mountain crease.

POCKET

X8

4

TAB

Fold both layers of the right point back along existing creases, forming a pocket. Note the slanted closed crease on the inside, which is the tab. The module is finished. Make 8 modules. When two modules are connected, the pocket of the first module gets wrapped around the tab of the second.

3

A small sailboat has been formed, with two points at the left end and one point at the right end. Wrap the rear left point forward around the two vertical closed creases so it ends up behind the front left point.

C Bennett Arnstein 6 / 4 / 2008

FIRST MODULE

SECOND MODULE

5

The pocket of the first module has been wrapped around the tab of the second.

6

16

Bring the sail of the second module from behind to in front of the sail of the first module. This will lock the two modules together.


SIMPLE

8-WINDMILL OCTAGON MEDALLION Page 2

8

7

The pocket of the second module has been wrapped around the tab of the third.

Move the sail of the third module from behind to in front of the sail of the second module.

10

9

Continue connecting modules until eight modules have been connected. Then connect the eighth module to the first one. In order to get the pocket of the eighth module around the tab of the first one it will be necessary to disconnect the sail of the second module from the first one, and then re-connect it after the eighth and the first have been connected. Make sure that each sail lies in front of the sail of the previous module. This is the front side of the medallion.

This is the back side of the medallion.


The next page shows how to make the medallion spin.

17


SIMPLE

HOW TO MAKE THE 8-WINDMILL OCTAGON MEDALLION SPIN by Yami Yamauchi Make a blow-top spinner from a ninth windmill, using the same size square as was used for the eight windmills to make the medallion. Attach the blow-top to the back side of the medallion by inserting the vanes of the blow-top between the modules of the medallion. This will be illustrated using a "Me Spin Long Time For You" blow-top (see enclosed diagrams.)

2

Fold a "Me Spin Long Time For You" blow-top with its vanes pointing in the opposite direction, so that when the blow-top is turned upside-down they will be pointing in the correct direction. Then turn it upside-down and insert the vanes into the back side of the medallion as shown in step 1.

1

First inspect the back side of the medallion. Notice which direction the vanes of the blow-top must enter the spaces between the modules. For the medallion shown, the vanes of the blow-top must enter in a counter-clockwise direction.

BLOW-TOP

MEDALLION


3

The blow-top has been attached to the back side of the medallion. The medallion will spin if you blow down on the front side, but it will spin faster and longer if you spin it by hand. Spin it on a smooth hard dry clean horizontal surface.

18

Chapter 2 Intermediate

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2.1. INVISIBLE MAN BY GILAD AHARAONI

INTERMEDIATE

The Invisible Man

c Gilad Aharoni (Israel / MA)

Low Intermediate A 15cm (6 inch) square makes a 9cm (4 inch) tall model.

1. Start with a square, white side up. Valley-fold edges to center.

2. Turn over

3. Fold edges to center, allowing flaps to swing forward.

2/3

1/3 5. Turn over. 6. Inside reverse-folds.

4. Pleat.

7. Valley-fold.

11. Fold corners to center-line. 8. Fold edges to the center.

10. Fold top down, while opening sides.

9. Valley-fold legs, and a short strip on top.

20

2.1. INVISIBLE MAN BY GILAD AHARAONI The Invisible Man (Page 2)

12. Valley-fold, tuck top edge under collar flaps.

INTERMEDIATE

13. Turn over.

The Invisible man

Visit WWW.GILADORIGAMI.COM for more!

21

2.2. EVI’S CHICKEN EGG CUP BY EVI BINZINGER

INTERMEDIATE Evi’s chicken egg cup

This model is created for egg colored, weight about 60-80 g/m², square paper. Use copy or kraft paper for a better stability. Paper size: 15 x 15 cm and two pieces 6 x 6 cm for the wings.

1

created 08/2001 and diagrammed Febr. 09 by Evi Binzinger / Germany

3

2

©

4

Start with white side up. Precrease valley folds.

5

Turn model 6

Enlarged view.

7 Turn model

8 Valley fold and turn.

Valley fold.

9 Enlarged view. Pull, open and flatten. 10 Pull and open.

12 Open once more.... Add mountain and valley folds. 13 Collapse again, but this time it should be 3D.

Valley fold upper layer on the right. Pull out extra paper on the left side and valley fold.

Valley fold.

11 Collapse.

14 Fold beak and tail.

15

Valley fold the layer underneath the flaps.

Fold 2 waterbomb bases for the wings. Paper size should be about 6 cm or little less. Remember, that the second wing has to be folded differently.

Fill in candy or an egg and add eyes, if you like. You can modify the feet. Insert flaps into pockets to lock the model, repeat on the other side.

22

2.2. EVI’S CHICKEN EGG CUP BY EVI BINZINGER

INTERMEDIATE

You can fold feet optionally, this will give a better stand, but is difficult to make neatly. Try to precrease in early steps.

Open feet and flatten.

Valley fold.

The Result. Repeat behind.

Push.

If you want to use this chicken as a container, or give it a cock like look, you can skip folding the tail in step 14 and use square red paper little less than 6 x 6 cm for additional accessoire.

2 1

3

Inside reverse fold flaps. Repeat behind.

4 Valley fold upper flap.

Enlarged view.

Fold waterbomb base for the cockscomb

5

7

6

8 Turn model.

Valley fold second flap. Insert flaps underneath beak layers. 9

23

2.3. PIANO BY JUANFRAN CARRILLO

INTERMEDIATE

GRAND PIANO Juanfran Carrillo Recommended size: 20x20 cm Final size: 0.45*square length Recommended paper: bicolor sandwich paper, with other paper you can use some glue between layers to keep the shape. 1. White side up.

2. Only pinch.

3.

4.

5. Open the base.

7.

6.

24


INTERMEDIATE

14.

15.

13.

12. Let's use some X-ray

11.

10.

9. 8. Crease and unfold step 7

25


INTERMEDIATE

16. Hide the small flap 17.

18.

19. Fold the legs.

20. Open the lid.

21. Finished piano

26

2.4. CALLIGRAPHY PEN BY YANNICK GARDIN

INTERMEDIATE

Calligraphy pen Yannick GARDIN - France - February 2008 Work with double color paper (gold and black for example). A 17 cm (6,692 inches) square gives a 20 cm (7,874 inches) long model. Begin with gold side up.

3

2

Fold the bissectors to the center with valley folds to make a kite base

Kite base done

4

5

Done ! Turn the model over

Squash fold on the left side

6

Make another squash fold, on the right side

Fold in half and rotate

7

8

Good ! Turn the model

27

Next steps will focus on the top part


10

9

Squash-fold the right side

11

The result

17

16

Repeat steps 9-14 on the right

Fold up the flap

The result

19

18

Close the flap

The result

Repeat step 11 on the left

15

Inside reverse fold

14

13

12

INTERMEDIATE

Stretch the point

20

The result. Wrap the layers to make a colorchange

21

Fold the bissectors

28

The result


Note the starting point

22

Valley fold

25

INTERMEDIATE

23

24

Valley fold, aligning with the center line

Valley fold, aligning with the edge Repeat 23-24, pleating the flap matching with center line and outside edge. Unfold

26

Final modeling : fold in half, and shape to taste. Try to make it the more "pen-like" possible

Make a serie of reverse folds on the right Repeat 22-25 on the left

29

2.5. BENZAITEN BY LUIS CARLOS MAYA

INTERMEDIATE

Benzaiten(teselado)

modelo: Luis Carlos Maya Diagramas: Manuel Herrera

Diosa japonesa del conocimiento y de las artes. Serie papiros luminicos mayo 2008

descolapsar el modelo.

http://origamihouse.blogspot.com/

30

[email protected]

2.5. BENZAITEN BY LUIS CARLOS MAYA

INTERMEDIATE

Repetir en los otros 3 lados.

Repetir en los otros 3 extremos.

http://origamihouse.blogspot.com/

31

[email protected]

2.6. BIRD IN FLIGHT BY MIKE BRIGHT

INTERMEDIATE

32

2.6. BIRD IN FLIGHT BY MIKE BRIGHT

INTERMEDIATE

33

2.7. BOTTLE AND STAND BY MIKE BRIGHT

34

INTERMEDIATE

2.7. BOTTLE AND STAND BY MIKE BRIGHT

35

INTERMEDIATE

2.8. STANDING HEART BY LAURA KRUSKAL

36

INTERMEDIATE

2.8. STANDING HEART BY LAURA KRUSKAL

37

INTERMEDIATE

˜ 2.9. KUSUDAMA BY JAIME NINO

INTERMEDIATE

Kusudama

Jaime Niño

2

1

3

7

6

9

8

4

5

6 Módulos

Seguir ensamblando De la misma forma por las otras caras.

Unión

1

3

12 Módulos

2

38

˜ 2.10. KUSUDAMA 2 BY JAIME NINO

INTERMEDIATE

Kusudama

Jaime Niño http://www.flickr.com/photos/jaimeni

2

1

3

7

6

9

8

4

5

6 Módulos

Seguir ensamblando De la misma forma por las otras caras.

Unión

1

8 Módulos

2

39

2.11. BOATS BALL BY ILAN GARIBI

INTERMEDIATE

Boats Ball 2008 Design: Ilan Garibi Units 30 Diagrams: Ilan Garibi http://www.flickr.com/photos/garibiilan/ [email protected] Color side Down Paper Duo-color Kami 7.5 cm

1

2

Fold and unfold the 2 diagonals

4

Fold the truncated corners to the diagonal

3

Mark the midsection between the corner and the center. Repeat on the opposite corner

Fold the corners behind, to the marked spot

6

5

And crease the edges of the white squares in step 5. note that the lower fold is mountain fold! Unfold back to step 5

Fold in half

40


INTERMEDIATE

7

9

8

X X Z

Now bring the marked (X) corner to the diagonal line. Note the position of (X) in the next step. The model will not lie flat from this step to the end.

Fold the corner, and tuck it behind the green flap!

10

11

Z

Pre-fold The locking mechanism: the right flap forward and the left one (Z) backward, and unfold both

Now repeat the procedure on the left part of the white square

12

7-10

Repeat steps 7-10 on the other corner

41

Shape the boaty curves by creating a square of valley folds around the white square


Assembly

INTERMEDIATE

Tab Pocket

How to connect 2 units

pocket

Tab

Just before insertion

Lock them together by folding the joined triangle inside the boat

This model is made from 30 units, 3 in every corner.

42

2.12. NICELE BY NICOLAS DELGADO

INTERMEDIATE

43

˜ 2.13. MANTA RAY BY JAIME NINO

Manta Raya

1

INTERMEDIATE

Jaime Niño

http://www.flickr.com/photos/jaimeni

3

2

Doblar base preliminar

4 Hundir Abierto

7

5

6

8

9

Repetir 5 -7 al otro lado

11

10

44

˜ 2.13. MANTA RAY BY JAIME NINO

Manta Raya

12

INTERMEDIATE

Jaime Niño

http://www.flickr.com/photos/jaimeni

Doblar teniendo en cuenta la referencia

2 1

13

14

Realice primero el doblez en valle y luego el doblez en montaña según las referencias

Repetir 12 - 13 al otro lado

2

1

16

15

volumen a la manta 19 De y forma a la cola

18 Modelo Terminado

45

17

Doble hacia atrás la punta y esconda la capa de papel

2.14. GUINEA PIG BY YANN MOUGET Cochon d' Inde

1.

4.

INTERMEDIATE Yann Mouget

Juillet 2008

2. Effectuer 4 plis oreilles de lapin

5.

7. Plis inversés.

6.

8. Plis oreilles de lapin.

9. Modelage final.

46

3.

2.15. BATMAN BY YANN MOUGET

INTERMEDIATE

Tête de Batman

Yann Mouget

Octobre 2008

2.

3.

1.

3-5

5.

4.

7.

6.

8. Pli aplati.

9.

7 - 10

10.

14.

12.

11.

15.

16.

47

13.

2.16. CAT BY MAX HULME

INTERMEDIATE

Cat

20th February 2009

Begin with A4 or similar shape. 1

2

4

3

6

5

7

9

8

48

10

2.16. CAT BY MAX HULME

INTERMEDIATE

Cat (ctd.) 12

11

13

14 15

16

© Max Hulme

49

2.17. TOUCAN BY TOM DEFOIRDT

INTERMEDIATE

TOUCAN

Tom Defoirdt ©2007 - Belgium

1. Start with a bird base. Va l l e y - f o l d o n e l a y e r upwards.

2. Valley-fold one layer to the left.

3. Fold and unfold as indicated.

4. Valley-fold one layer upwards in the middle between the creases made in step 3.

5. Narrow the tip (squashfold at the bottom).

6. Fold one layer back to the right.

7. Repeat steps 4-6 at the left.

8. Sink in and out as indicated.

9. Sink at the top. Pull out some paper to open at the bottom.

10. Turn over.

11. Valley-fold the flap downwards.

50

12. Valley-fold the flap upwards.


13. Fold in half.

17. Reverse-fold in and out and reverse-fold at the top.

21. Reverse-fold to the right. Repeat behind.

INTERMEDIATE

15. Mountain-fold to narrow the point. Repeat behind.

14. Slide the point to the right and squash-fold at the bottom (repeat behind).

18. Open-sink and tuck the point inside.

19. Reverse-fold the tip to the right. Repeat behind.

22. Like this. Next steps will focus on the tail.

23. Fold as indicated to form the tail..

51

16. Mountain-fold. Repeat behind.

20. Enlarged view. Reversefold the tip downwards. Repeat behind.

These are drawings of the result, from the inside (left) and outside (right).


INTERMEDIATE

A.

24. Final shaping of the beak, body and feet. Pinch to shape the beak. Repeat behind. Mountain-fold to shape the body. Repeat behind. Formation of the feet: A. Reverse-fold. B. Valley-fold. Repeat behind. C. Reverse-fold inside. D. Slide the foot slightly upwards. E. Finished foot.

25. Finished toucan. Model: Tom Defoirdt, 2002 Diagrams: Tom Defoirdt, 2007 www.tomdefoirdt.tk

26. Challenge: fold a toucan with open beak by adding a border graft.

27. Finished toucan. Model: Tom Defoirdt, 2003

52

B.

C.

D.

E.

2.18. PARAKEET BY TOM DEFOIRDT

INTERMEDIATE

PARAKEET


1. Fold and unfold along the diagonal.

3. Bring the corner to the crease made in step 2.

2. Fold and unfold along the diagonal. Make the crease sharp only where it hits the other diagonal. B

D

4. Bring the crease made in step 3 to the one made in step 2 and unfold.

D

A

A

B C

C

8. Repeat steps 6-7 at the left.

5. Fold and unfold as indicated. Turn the paper over.

6. Bring point B to line AC.

7. Bring point D to line AC.

9. Rotate the model 45°.

10. Petal-fold.

11 . R e v e r s e - f o l d indicated.

13. Rotate the model 180°.

14. Reverse-fold two points down.

15. Valley-fold to make the points smaller. Squash fold at the base.

53

as

12. Make the tip smaller as indicated.

16. Turn over.


INTERMEDIATE

17. Fold and unfold as indicated. Next step focuses on the centre of the model.

18. Fold and unfold as indicated.

19. Mountain-fold the model in half, meanwhile collapsing the rhombus.

20. Like this. Mountain-fold to shape the wings (repeat behind). Reverse-fold at the top. Next step focuses on the head.

21. Outside reverse-fold.

22. Pull out some paper. Repeat behind.

23. Reverse-fold.

24. Valley-fold to shape the beak and mountain-fold the edge. Repeat behind.

25. Crimp to curve the beak.

26. Like this. Next steps focus on the formation of the feet.

27. Reverse-fold. Repeat behind.

28. Valley-fold the legs in half.



31. Reverse-fold the tip and crimp. Repeat behind.

54

32. Like this.


INTERMEDIATE

33. Finished parakeet. Model: Tom Defoirdt, 2001. Diagrams: Tom Defoirdt, 2006. www.tomdefoirdt.tk

55

2.19. SANTA ANA BOWL BY BOAZ SHUVAL

INTERMEDIATE

Santa Ana Bowl Design and Diagrams: Boaz Shuval

1 2 3

Pinch the halfway point.

Pinch the quarter point on one side only. Precrease only as shown.

4

5

Extend existing crease.

6

7 8

Pinch only.

56

2.19. SANTA ANA BOWL BY BOAZ SHUVAL

INTERMEDIATE

14

Completed Santa Ana bowl Mountain fold along existing crease to lock. Repeat steps 12-14 three more times.

13 12

11

10

4–9

Precreasing complete.

9

4–9

4–9

57

2.20. MOTORISED CRANE BY CARLOS OSSA

INTERMEDIATE

Created y Diagrammed by: Carlos Ossa

Grulla Motorizada (Motorized Crane)

Cali-Colombia 2008

Rabbit ear each side Pull out the trapped paper on each side. Repeat behind

GRULLA MOTORIZADA

58

2.20. MOTORISED CRANE BY CARLOS OSSA

INTERMEDIATE

Fold the first 2 layers inside, repeat behind.

1

2 1.Inside reverse fold the head like traditional crane 2. Fold back the wheel's corners to round them

Open up the wings and it will stand by it's own.

GRULLA MOTORIZADA

59

2.21. MAGIC SPYGLASS BY TONY O’HARE

INTERMEDIATE

MAGIC SPYGLASS This model may be made from an A4 sheet of paper as below. Alternatively, you can use separate sheets of paper of the same dimensions. You may use the principles of this design to make other scenes in your Spyglass.

A

B

F C

D

E

G A B C D E F G

= 14.85 cm x 14.85 cm square = Spyglass part 1 (narrower eye-piece end) = 14.85 cm x 14.85 cm square = Spyglass part 2 (wider viewer end) - 6.15 cm x 6.15 cm square = Lens cap (smaller) - 6.15 cm x 6.15 cm square = Lens Cap (larger) = 2.55 cm x 6.15 cm rectangle = Message = 3.075cm x 14.85 cm recangle = Linking strip/sea = 3.075cm x 14.85 cm recangle = Scene

F

(1) Use piece F as a measure. On square A fold top flap over the same amount as the width of rectangle F. This marks the width of the narrower eye-piece end of the Spyglass.

60

A


INTERMEDIATE

MAGIC SPYGLASS - 2 (2) Fold this flap over twice more

(3) Fold remaining portion up along folded edge, then unfold back to start. Turn paper over.

(5) Interlock end by tucking top flap into bottom to form square tube. Hem is on the OUTSIDE.

(4) Valley fold in "hem" on each side 1/4

1/4

(6) Part A completed.

B

(7) On square B fold top flap over slightly more than width of rectangle F. This marks the width of the wider viewer end of the Spyglass.

61


INTERMEDIATE

MAGIC SPYGLASS - 3 (8) Fold this flap over twice more

(9) Fold remaining portion up along folded edge, then unfold back to start. On square B DO NOT Turn paper over.

(11) Interlock end by tucking BOTTOM flap into TOP flap to form square tube. Hem is on the INSIDE.

(10) Valley fold in "hem" on each side as with part A 1/4 1/4

(13) Part A should fit snugly into Part B, and slide in & out smoothly. The hems stop the tubes in the correct places.

(12) Part B completed.

62


INTERMEDIATE

MAGIC SPYGLASS - 4 (14) This is the basic Spyglass, which can be treated as a finished item. To make the Spyglass "magic" please continue....

(15) Unfold Part A back to step 5. Unfold lower hem only..

(17) Fold strip down along edge of hem. Turn over. (16) Lay strip F on top as shown. Re-fold lower hem to lock in place.

F

(18) Crease strip like this and unfold. Note proportions. Decorate area shown with waves. Re-form tube. (19) This is the result.

63


INTERMEDIATE

MAGIC SPYGLASS - 5 (20) Use strip G to make scene. Form a waterbomb base on top square. This will make boat. (22) Complete the boat traditional sailboat design. (21) Make folds and turn over.

(23) Make pleat and tuck under boat. Mountain long flap up so that boat is just below the middle of paper.

(24) Make mountain folds like this ready for locking scene into hem of spyglass. Note 2 mountain folds on lower part, 3 mountain folds on upper part. Colour in hull of boat, and decorate area shown with waves as in step 18. NB - A simple alternative is to just fold the strip in half in step 20, then either draw scene on strip or glue an origami item to the front. Then make creases as in step 24.

64


INTERMEDIATE

MAGIC SPYGLASS - 6 (26) Lay Part A on Part B so that linking strip reaches bottom edge of Part B when stretched flat. Bottom hem of Part A should be just below top hem of Part B.

(25) Now to assemble the spyglass. Unfold Part B back to step 11. Unfold lower hem only.

A

B

B (27) Next take the ship scene, turn it over and place this on top of linking strip so that points X should line up.

X

(28) It should look like this. Fold down top of piece G on existing valley crease. Re-fold one layer of bottom hem through all layers, and hold together with a paper clip.

A A

B B G

X

65


INTERMEDIATE

MAGIC SPYGLASS - 7 (29) Now reform tube, interlocking top folded layer of flap G into top hem. (30) Now refold mountain fold on all sides of tube on existing crease to lock model together. Remove paper clip.

A

B G

(31) For finishing touches, use remaining pieces of paper. Pieces C & D make lens caps. For smaller lens cap leave a small gap (approx 1.5mm) between valley folds and centre of paper.

(32) Make more valley creases.

(34) Fold in sides to form box

(35) Lens cap completed. For larger lens cap, leave a slightly larger gap.in the centre at step 31.

(33) Make mountain fold on each corner & form box shape.

66


INTERMEDIATE

MAGIC SPYGLASS - 8 (36) With remaining piece E we can make a message to go into smaller lens cap C.

(37) Fold out flaps so that edges slightly overlap folded edges behind. Turn over.

(38) Like this. Insert into smaller lens cap. The tabs behind keep message in place. (39) Like this. Last part completed.

The MAGIC SPYGLASS

T M he SPY AGIC GLA SS

(40) Close the Magic Spyglass by sliding the 2 parts together, and put on the lens caps. When you remove the lens caps and look through the narrower end, you'll see the scene in diagram 41 - no ships! Open the spyglass out, and look through again. Now you'll see the scene in diagram 42. Magically a ship has appeared on the horizon. What would you like to see through your spyglass?

(42)

(41)

© Model & Diagrams - Tony O'Hare 2009

67

ˆ QUYET ˆ HOANG ` 2.22. AMERICAN LUNA MOTH BY TIEN

INTERMEDIATE

Actias luna American Luna Moth Author: Hoàng Ti?n Quy?t Model: 2008/08/* Diagram: 2008/08/28

1/16

1/2

2

1/4

3

3/16

1 4

5 6

7 10 8 9 68

ˆ QUYET ˆ HOANG ` 2.22. AMERICAN LUNA MOTH BY TIEN

INTERMEDIATE

10~19

20 19 21 18

22. Actias luna 17

15 16

14

11 13 12 69

2.23. SQUARE PYRAMID 36◦ BY JOHN MONTROLL

INTERMEDIATE

Square Pyramid 36°

36°

This pyramid is formed from a square base and four isosceles triangles, with an apex angle of 36°.

1

2

Fold and unfold.

3

Fold and unfold on the left.

4

5 36°

Fold and unfold on the left and right.

6

36°

Fold and unfold in the middle.

44 Origami Polyhedra, Math and Design

Square Pyramid 36° 55

70


7

INTERMEDIATE

8

9

Fold and unfold all the layers along the crease.

10

Unfold.

Repeat steps 5–8 on the right.

11

2

12

1 Fold and unfold along the creases and extend them.

Fold and unfold.

13

1

14

1. Fold at the bottom. 2. Fold and unfold.

15

2 1. Fold and unfold. 2. Fold along the crease.

Fold and unfold along the creases.

16

Push in at the dot to bisect the angle.

17

Fold and unfold.

Push in at the dot and fold along the creases.



71


18

INTERMEDIATE

19

Fold along a hidden crease.

20

Fold along the creases.

21

Push in at the center dot. The other dots will meet.

22

tab

Tuck the tab inside.

Fold and unfold.

23

24

tab Tuck the tab inside.

Square Pyramid 36°



72

2.24. SONG BIRD I BY SWAPNIL SHINDE

INTERMEDIATE

Song Bird - I

1.

Swapnil Shinde. India

3. Turn Over

2. Blintz

4. Blintz & Turn Over

6. Fold sides in

9. Bring the flap down

5. Open out

7. Collapse to Pinwheel base

8. Fold Behind on given fold

11. 10. Squash the flap & make preliminary base. 73


INTERMEDIATE

12. Petal Fold both side

13. Open sink


15. Narrow the flap

17. Open Sink 16. Turn the flap on one side

74


INTERMEDIATE

18.

20.

19.

21.

23.

22.

75


INTERMEDIATE

24. Sink. For giving shape.

25. Shape the model by folding excess paper inside.

26. Sink in the tail. & crimp the legs for proper shape.

© Swapnil Shinde, India. 2009.

76


INTERMEDIATE

77

2.25. SONG BIRD II BY SWAPNIL SHINDE

INTERMEDIATE

Song Bird - II

1.

Swapnil Shinde. India

3. Turn Over

2. Blintz

4. Blintz & Turn Over

6. Fold sides in


5. Open out

7. Collapse to Pinwheel base

8. Fold Behind on given fold

11. 10. Squash the flap & make preliminary base. 78


INTERMEDIATE

12. Petal Fold both side

13.

15.

14. Open sink

17.

16. First close sink the base Then bring the flap down 79


INTERMEDIATE

19.

18. Open sink at front & Double Crimp at back

21. 20.

22.

24.

23.

© Swapnil Shinde, India. 2009.

80

2.26. AFRICAN ELEPHANT BY MATTIAS EICHEL

81

INTERMEDIATE


82

INTERMEDIATE


83

INTERMEDIATE


84

INTERMEDIATE


85

INTERMEDIATE

2.27. CARD – GUITAR BY JOHN MORGAN

INTERMEDIATE

CARD - GUITAR from a 4 by 1 sheet

1

8

Colour down

see detail figs 3 - 7

8

2 Fold edges to centre.

24

3

8

turn over

Right folded edge goes into pocket 4 behind front layer

5

6

Mountain fold the right side, at 7 the same time pull out paper from behind.

86

Fold to centre again.


INTERMEDIATE

8 Sink six corners

9

see detail figs 10 - 15

Border uses Ed Sullivan's picture frame

10 Fold three sides in. 12

see details figs 12a, 13a

11

12a 13a

87


INTERMEDIATE

14 P

Fold three sides in 13

see detail fig 15

A

At triangle CDE there are four layers of paper. The next to bottom layer covers triangle ABC. The layer above is a triangular flap CDE; tuck this triangular flap under the layer below to lock (you may find a key useful to tuck D under). Repeat with triangular flap BFE. Repeat the entire process at corner P in fig 14.

C

E

D

15 A

Write Message Here 16

17

Valley fold left side as far as possible under guitar

Complete

18 To stand guitar at an angle insert fingers between the two layers at the bottom of the guitar

88

F

B

2.28. RED KNOT BY ANDREW HUDSON

INTERMEDIATE

   



















89






INTERMEDIATE





 













90










INTERMEDIATE





















91

2.29. ROOSTER BY MARC VIGO

INTERMEDIATE

01

0011

Begin with a frog base, red face inside the model. Fold one layer to the left. Repeat behind.

1

0011 2

0011

Raise one point. Repeat behind.

3

Fold two layers to the left while reverse folding points just lifted. Repeat behind.

01 0011 4

Swivel fold top layer while bisecting inside. Repeat on the back and on the right.

0

90

0011 5

00111100 8

0011

Mountain fold in half. Rotate the model 90 degrees.

Reverse fold. Unfold.

6

Outside reverse fold neck (two points). Crimp the tail.

00111100 9

00111100

Squash fold.

9

92

Valley fold.

0011 7

Next steps show legs in detail.

111 000 000 111 10

Close and form a rabbit ear.


INTERMEDIATE

A

00111100 11

0011 1100

A,B

Reverse fold (hide) two points.

Bring toes horizontal and spread.

0011 23

111 000 000 111

Unfold the white part.

B

111 000 14

13 Reverse fold in and out (crimp).

Reverse fold along bisector bringing A to B.

01

111 000 19

12

Reverse fold. Unfold.

111 000 15

00111100

Slide first layer only as far as possible. Repeat behind.

111 000

0011 16

17

Mountain fold to hide. Repeat behind. Take care not to lock toe layers.

Thin leg. Spread toes and shape.

21

00111100

Finished leg. Repeat 8−20 for the other leg.

0011 24

18

to lock toe layers.

00111100

0011 20

0011

Double rabbit ear. Take care not

0011 25

Slide the second layer. Repeat behind.

93

Slide the third layer. Repeat behind.

22

0011 26

Crimp fold.

Next steps focus on the tail.

Finished tail.


00111100

Extract some paper from inside both points.

27

0011

Reverse fold inside.

31

1100 11001100 35

Shape to make sharp points.

INTERMEDIATE

00111100 28

00111100

Outside reverse fold first point.

29

0011 32

0011

Round and shape.

33

00111100

Next steps show head in detail.

Crimp fold in and out.

30

Pinch to form the beak.

0011 34

Hide paper inside the neck. Repeat behind.

00111100 36

Finished head.

1111 0000 0000 1111 37

94

’06

2.30. BIRD BRACELET BY JOHN MORGAN

INTERMEDIATE

BIRD BRACELET -This fold transforms a long strip into a decorated closed loop (bracelet, hat band, belt,...). In the body of the strip segments measuring (6 by 2 ) units fold into flying bird emblems measuring (2 by 1) units , while at the join a 2 unit strip inserts into 2 units at the other end.To fold a bracelet make two choices (i)the required circumference, C cm. say; and (ii)The number of flying birds, F say. Since each flying bird is 2 units long and there are F of them C cm = 2F units or 1 unit = C/(2F) cm For example my head is close to 60 cm around.. For a hat band of circumference C = 60 cm containing F = 5 flying birds. 1 unit = C/(2F) = 60/10 = 6cm. The required strip ,allowing for 2 units overlap has dimensions [(6F + 2) by 2 ] units, ie 32 by 2 units The circumference of the bracelet is one third of (the original strip less the 2 unit overlap.).When folded from a 32 by 2 unit strip; the bracelet is 10 units around and 1 unit wide. The diagrams show a 5 bird bracelet ; to change the number of birds simply alter the length of the original strip by 6 units for each additional bird. The following diagrams are for a bracelet with white birds on a coloured background. For coloured birds on a white background make the obvious alteration.

1 White side up. Precrease into 32 bands by first creasing in half, then in quarters, then in eighths, then sixteenths , then thirtyseconds.

2 Crease diagonals of 15 squares; 2 by 1 bands at each end are uncreased.

3

Valley the strip fold in half. Q

P

P

95

Lift back layer opening out centre panel and swing down left and right sides.

4

Q


INTERMEDIATE

5

P

Mountain fold side strips behind square panel.

Q

B A

C D

P P

7

Two rabbit ears

Q

6 Fold a waterbomb base so A, B, C all fall on D; then allow flaps ending in P and Q to swing out.

Q

8 Mountain fold head

9

10

One segment complete

Repeat step 4 on the next segment.

96


INTERMEDIATE

11 Continue by repeating steps 5 to 9 ; then repeat the entire process three more times to fold a total of 5 flying bird segments

A

B

C

D

Swing the left and right sides behind sliding one 11 end into the other so that AB and CD coincide.

Complete

12

Comments 1. To enhance bracelet appearance bow the middle slightly so that top and bottom edge rings are marginally smaller than in the centre of the band. . 2. If initially a long strip of paper is not to hand , cutting a square into a number of narrow strips and taping these end to end provides one long strip.

97

´ CU ˇ CEK ˇ 2.31. FIR TREE BY SANJA SRBLJINOVIC

1. Mark the half horizontally.

FIR TREE

INTERMEDIATE

2. Mark the half vertically.

4. Fold the square base.

3. Fold the blintz base.

Model and diagram by Sanja S. Čuček 2008

7. Precrease all four flaps.

6. Precrease all four flaps.

Fir Tree 1

© Sanja Srbljinović Čuček, 2008

98


8. Open to the blintz base.

INTERMEDIATE

9. Fold the waterbomb base.

10. Fold to the right. The point A is brought down to the level with B and C. The model is 3D from this step onwards.

11. Fold double rabbit ear. The point A is brought down to the level with B and C.

11.a The double rabbit ear in the process. The points D and E are brought down to the level with A, B and C.

Fir Tree 2


99


INTERMEDIATE

12. Repeat the double rabbit ear on the remaining three flaps.

13. Bring the middle creases together and lock them by folding the triangles a and b behind.

14. Turn the model over to see the reverse of the locked creases.

Fir Tree 3


100


INTERMEDIATE

15. Squash fold the top by simultaneously aligning the indicated creases.

16. Repeat the steps 13-15 on the remaining three sides

The finished fir tree module.

Now you have learned the basic module, try folding it of scaled squares (e.g. 21, 18 and 15 cm and assemble your fir tree.

Fir Tree 4


101

2.32. THREE-HEADED CRANE BY JARED NEEDLE

INTERMEDIATE

Three-headed Crane ©2003 by Jared Needle

6

7

1

45˚

5

8

4

9

2

3

102


INTERMEDIATE

18 13

12

14 11

10

17

15

16

103


INTERMEDIATE

19 24

25

23

26

22

27

20

21

104


31

30

32

29

33

28

105

INTERMEDIATE

Chapter 3 Complex

106

3.1. RABBIT BY MARK BOLITHO

COMPLEX

107


COMPLEX

108


COMPLEX

109


COMPLEX

110


COMPLEX

111

3.2. BUFFALO BY HUY PHAM

COMPLEX

Buffalo Author : Phạm Diệu Huy Created : 20/Nov/2008 Diagramed : 12-20/Dec/2008 Website: http://huyorigami.co.nr Use square paper with the same colour on both sides Recommended size : 25x25cm

1

3

2

6

5

4

9 7

B

A

8

A encounters B

1

112

http://huyorigami.co.nr


COMPLEX

19

18b

18a Top view Unfold all

15

14

17

16

13

Petal fold

10

Squash fold

12

11

8 - 10

2

113



COMPLEX

22

20

F E

21 C

Valley fold from E to F & unfold all. Repeat right

D

23 Mountain fold from C to D G

H

25

F

E

Fold from step 1-12 Make crease FG, FH Repeat on the right side

24 G

H N M

F E

26

Make crease GM, MN Repeat on the right side

27

3

114

28


3.2. BUFFALO BY HUY PHAM 14 - 18

COMPLEX

33

Pull up

32

38

34a N E

31

37 26 - 30 Pull out the first layer Fold down while flat along with creases EF & EN (step 24)

34b F E

30

N

36 33 - 35 Beside view

35a Repeat on the right side

29

35b Fold like step 18 with exsiting creases

G

F

M N

GF : valley fold MG, MF, MN : mountain fold

4

115



COMPLEX

47

39

46

90

0

48 40

49 45 M N E

35b

50

41

G

44 51

Swivel fold

52

42 43

Swivel fold

53

5

116



COMPLEX

60

59

58

Finished Buffalo

57

Shape the head, ear, horn, back & tail

56

Repeat behind

55

Repeat behind

Repeat behind

Swivel fold

54

6

117


3.3. OX BY CHENG CHIT LEONG

COMPLEX

OX

c

Cheng Chit Leong - 2009 (Singapore)

Complex

Start with a square, preferably, of paper backed foil. This is not your usual flat folding model. Much curved crease folding is applied, and layers will not flatten. A 48 cm. square gives a model of 25 cm in length.

1. Coloured side facing down, crease. 2. Fold top half down.

3. Divide sides of paper into thirds by folding. Do not crease. Estimate positions of valley and mountain folds and adjust to obtain correct positions...

4. ...like this. Crease markers at sides and unfold to Step 3.

A

5. Fold up both sides.

B

6. Angle pleat both sides. Points A and B can be determined by folding or easier by measurement

118


COMPLEX

7. Fold down both sides.

8. Open center. A

C

D

B

9. Crease. Hidden creases AC and BD are mountain. Fold back to model at Step 8.

10. Open and bring down two corners.

11. Collapse both sides together. Model will not flatten.This portion is 3D polyhedral. More advanced folder may change some of the straight creases to curved creases to provide nice curved surfaces.

119


12. Sink top and close.You may recognise result...

COMPLEX

13. ...shown here (enlarged) as two intersecting cornical surfaces. (Advanced folders may bring the two hind legs forward slightly to lengthen.)

14. Fold first valley along earlier crease and then mountain, curving it at top.

15. Collapse both sides to form tail... 16. ...(enlarged) like this.

17. Crimp centre. This is difficult. You can first spread out to flatten. Crimp gently and at the same time carefully pull out the two corners at top for the bull’s shoulders... 18. ...(enlarged) like this.

19. Press to lower back. Pleat both sides.

120


COMPLEX

20. Pleat both legs.

21. Narrow both legs to partially lock.

22. Fold appendage for right ear...

23. ...(enlarged) like this.

24. Form ear. Long mountain fold is (slightly) curved crease. Chest will puff up at cusp.

C A

B

25. ...(enlarged) like this.

D 26. Narrow right fore leg. AB and CD are the earlier pleat creases. Folds do not flatten. You may add secondary folds to tidy. Bring back ear.

27. Repeat Steps 22 to 26 for other side.

121


COMPLEX

28. Open up and fold.

29. Fold down.

30. Bring to left, but do not crease.

31. Pleat. The top mountain fold marks the position of the eyes and the bottom two mountain folds the position of the nose.

32. Bring back to the front.

33. Fold right horn and face.

122


COMPLEX

34. Fold back.

35. Narrow horn and bring tip to front.

36. Repeat Steps 33 to 35 for the other side.

37. Bring in both sides. Folds are soft. Chin will move back.

38. Bring horns forward and shape ears.

123


COMPLEX

39. Twist tail.

40. Open mouth and bring tongue back.

41. Form eyes by lifting lids and indenting face.

42. Open folds at tops of leg and fold hooves.

43. The model is completed.

124

3.4. LION MASK BY VICTORIA SEROVA

COMPLEX

Lion mask�

Page 1 (Lion mask)

Victoria Serova (Russia) http://vs-origami.narod.ru

1 2

3

5

6

4

Divide one half of a diagonal by 8 equal parts 8

7

9 135

10

Fold by all specified lines Mark the diagonal middle

125


COMPLEX

Page 2 (Lion mask)

Victoria Serova (Russia) http://vs-origami.narod.ru 13 11

12

Reverse fold

Crease the bisector 14

15

Repeat step 11 on the left

14a

Open sink by creased line and repeat steps 13-14 on the right

16 17

126

3.4. LION MASK BY VICTORIA SEROVA Page 3 (Lion mask)

COMPLEX Victoria Serova (Russia) http://vs-origami.narod.ru

18 20

19

Fold flap to the right Squash fold Crease line

21

23 22

Crease the bisector Reverse fold by creased line

24 180

26

25

Fold downward using existing point

127

Flatten the corners



Page 4 (Lion mask)

29 27

28

Fold the near layer downward and repeat steps 28-29 on the left

Pull to the left unfolding to step 18 30

Flatten the corners

32

31

Fold up only the near layer

Fold two flaps to the left 34

35 33

Fold four flaps to the right, repeat steps 32-34. Then fold two flaps to the left restoring symmetry.

128

Form upper eyelid



Page 5 (Lion mask) 38

37

36

Fold one flap Raise two flaps on the right and two flaps on the left.

Form lower eyelid 39

41 40

Restore symmetry Crease line on second flap

Crease line

42

44

43

Mountain fold by creased line

Repeat step 43 on the other side

Crease line

129


COMPLEX

Page 6 (Lion mask)


45 46

45a

Squeezing the nose from both sides by precreased lines lift up it by line slightly below eyes corners.

Press down nose tip Pleat to hide sheet corner under the cheek on the left. Specified points go one over another, model get the volume 48 47

49

Reverse fold on near leyer 50

Fold downward triangles

51 52

Fold upward triangles Lower down the nose

130


COMPLEX

Page 7 (Lion mask) 53


54 55

Form nose and cheeks

Raise nose to see lower layer. Don't raise two triangles at the nose base. Further nose will be shown unfolded only to simplify diagram

Smooth cheeks 56 57

58

Fold by all specified lines forming pockets into which will be inserted triangles outstanding from nose.

Reverse fold

60 59

Lower the nose restoring its form. Check that triangles are inserted into pockets.

61

Fold only near layer

131

Reverse fold


COMPLEX

Page 8 (Lion mask)


62 63

64

Crimp fold on two layers.

Strengthen crimp fold from previous step slightly pinching paper edge

65

66

67

Press out ear edge.

Form ears.

Superpose specified points. Hide lowering layer edge into pocket. Squash triangle on second layer.

68

70 69

Hide lowering layer edge into pocket.

Superpose specified points.

132


COMPLEX

Page 9 (Lion mask)


71

72

73

Fold so that edge goes through specified points under lower jaw

Fold symmetrically and hide under lower jaw 75

74

Smooth all angles

76

133

3.5. BEATING LIFE INTO PAPER (CP) BY TOM DEFOIRDT

BEATING LIFE INTO PAPER

COMPLEX


Precrease the square in 32ths. First fold the vertical pleats in the centre. Then fold the horizontal pleats on top and then collapse the arms and legs. In corporate the 45° creases, which will form nose, mouth and chin. Finally form the heart (mountain folds), fingers, feet, face, and shape to taste. Model: Tom Defoirdt, 2006 Crease pattern: Tom Defoirdt, 2007 Www.tomdefoirdt.tk

134

3.6. LEAF-WING BUTTERFLY BY ROBERT LANG

135

COMPLEX


136

COMPLEX


137

COMPLEX

3.7. RAT BY EDUARDO JULIO

COMPLEX

Rata Autor: Julio Eduardo C. T. Grupo Free Origami El Alto Www.origamifree.tk La Paz – Bolivia 2008 Para este modelo es recomendable utilizar papel Sándwich de 2 colores uno de color café oscuro y el otro anaranjado , el tamaño mínimo es de 30 por 30 cm.

1

2

5

9

4

3

6

10

7

11

1 138

8

12


13

COMPLEX

15

14

17

18

16

13-17

20

19

21

22

23

24

25

26

28

29

2

139

27


COMPLEX

29 30 31 32

33

34

35 36 37

38

3 140


COMPLEX

39

40 41 42

44

43

Desdoblar para hundir para las manos

45

46

47

Voltear el color para la cola

48

4 141


COMPLEX

49

Dar forma a la rata

50

Fin del Modelo

5 142

3.8. LION (CP) BY NICOLA BANDONI

COMPLEX

143

3.9. DACHSHUND BY ARTUR BIERNACKI

COMPLEX

Jamnik/Dachshund by Artur Biernacki

1

2 3

4 5

6

9 7 8

144


COMPLEX

16

15

17

14

45 13

10

12

11

145


COMPLEX

19 20 18

21

22

23

24

146


COMPLEX

32

31

90

29 30 28

25

27 26

147


COMPLEX

34

33a

33

35 36

39

37

38

148


COMPLEX

44. Model completed

43

42

41

40 Double rabbit ear

149

3.10. DRAGONFLY BY ARTUR BIERNACKI

COMPLEX

Model: Ważka/ Dragonfly Autor: Artur Biernacki Diagram: Artur Biernacki

1

2 3

4 5

6

9. 3D 8. 3D 7

150


COMPLEX

17

16

13-14 18

15

19

14 13

12

1/2 10. Now is flat. 11

151


COMPLEX

22. Closed sink

21

23

20

24

25

27 26

152


COMPLEX

36 35

34 37

29-32

32 31

33

28 29

30

153


COMPLEX

40 39

40 38

28-42 42

41

43 49

48

47 44

45

46

154


COMPLEX

52

53 51

54

55

45-55

50

56

155


COMPLEX

63 Open sink

64

Open sink

65

62 61

60

57

59

58

156


1/2

COMPLEX

67

65 68 66

67

69

70. Model completed

157

67

3.11. SAMURAI HELMET BEETLE BY JULIO EDUARDO

COMPLEX

Samuray Helmet Beetle Autor: Julio Eduardo C. T. Grupo Free Origami EL Alto Www.origamifree.tk La Paz – Bolivia 2008

Papel recomendable : Sándwich de 2 colores , uno negro y el otro amarillo Tamaño de papel: Es recomendable utilizar un papel de 30 por 30 cm. 1 2

4

7

3

5

6

9

8

1

158

10


11

12

15

COMPLEX

13

14

16 17 6-16

19

17

18

20

21

25

22

26

23

27

28

2

159

24

29


30

31 32

35

34

36

38

42

COMPLEX

37

39

43

33

40

44

Jalar las capas que hay por dentro por dentro

160

41

45

Hundir el sector marcado para sacar 2 puntas largas

3

38


46

49

47

46

50

COMPLEX

48

52

51

Dar forma al insecto

Fin del Modelo

4 161

3.12. COMMON RAVEN BY QUENTIN TROLLIP

COMPLEX

Common Raven To me, the challenge in designing a bird lies in the claws. A flying bird adds the extra challenge of outspread wings.

Design and diagram info: Date: 25 March 2007 High Intermediate Difficulty: Time to fold: 1 hour

Crease Pattern: Wing

Paper: Beak

Wing

Single Uncut Square Size: 40 cm Color: Black - Black Type: Kami OK Good Foil Wet-Fold Best

Ratio: 0.48

The design came relatively easy. The difficult part was to diagram the collapsing sequence of the base in a logical manner.

Claws

Claws

Tail

Steps 14 to 20 show how to divide into thirds. Do not be scared off by the closed unsink in steps 40 to 41, they are easier than they look. The Common Raven can be posed in different positions, but I like the “pecking” position, as it seems that the ravens are always pecking (or stealing!) something off the ground.

1.

2.

3.

4.

There are no landmarks for steps 84 to 87, so use your own initiative here. Shape the wings in step 87 to lie over each other and to hide the open layers of the body and tail.

162

Length

Raven, by Quentin Trollip c

I decided on book-symmetry for the strip grafts that would form the claws. This ensures minimal layers to form the claws and nails, so it is not dependent on special thin paper for a good result. Even 80-100gsm paper will work for this model.

Valley Folds.

COMPLEX

5.

6. Valley Fold and Unfold through all layers.

7.

8.

9.

10.

11.

12. Unfold the raw edge.

13.

14.

15.

16.

163

Repeat step 6 on the other



COMPLEX

17.

18. Valley Fold and Unfold.

19. Valley Fold.

20.

21.

22.

23.

24. Turn around.

25.

26. Repeat steps 22 to 23 on

27. Squash Fold.

28. Turn over.

164



29.

COMPLEX

30.

31.

33. Repeat steps 29 to 31 on the left.

34. Unfold the layers from inside on both sides.

35. Unfold the whole raw edge.

36.

37.

38.

39.

40. Repeat steps 36 to 39

32. the right.

165



COMPLEX

41.

42.

43.

44.

45.

46.

47.

48. Turn over.

49.



Enlarge.

50.

51.

52.

166

COMPLEX


54.

55. Repeat steps 49 to 54 again.


57.

58. Valley Fold one layer to

59.

60. Valley Fold one layer to

61. Repeat steps 58 to 60 on

Note the gap

62. Turn over.

63.

64.

167



COMPLEX

65. Enlarge.

66. Valley Folds and Unfold.

67. Inside Reverse Fold.



70. Repeat steps 66 to 69 on the two remaining

71. Like this. Next views from the top.

72. Valley Fold.

73. Inside Crimp Fold the second point.

74. Pinch to thin the point.

75. Inside Crimp Fold the third point to the back.

76. Pinch to thin the point.

77. Mountain Fold the fourth point.

78. Rabbit Ear the first and fourth points forward.

79. Scale change.

168



COMPLEX

80. Repeat steps 66 to 78 on the left.

81. Inside Reverse Folds.

82. Valley Fold the two flaps down. Rotate.

83. Mountain Fold in half.

84.

85.

86.

87.

88.

89. Inside Reverse Fold the corner. Repeat behind.

90.

91.

92. Spread the tail feathers. Curve the beak.

Raven.

Repeat behind.

169



3.13. WILD BOAR (CP) BY NICOLAS TERRY

COMPLEX

Wild Boar Nicolas TERRY www.passionorigami.com Creation : 08/2007

Fore leg

Mane

Ear

Fang

Muzzle

Back leg Fang

Ear

Tail Back leg

170

Fore leg

3.14. THREE-HEADED DRAGON BY FERNANDO GILGADO

COMPLEX

Dragón de 3 Cabezas c

Fernando Gilgado (1998)

1

2 3

5

4

6

7

Hay que ser muy preciso para que la figura tenga las proporciones adecuadas

Juntar la marca horizontal con la marca diagonal y la esquina con el borde vertical

8 Girar

171

9


COMPLEX

18

17

16

19

15 14

13

12

11 10

172


COMPLEX

21 22

23

20

24

Dar la vuelta 25

26

27

173


COMPLEX

37

36

38

35

Sacar el papel 39

34

31

Repetir 26-29 simétricamente

33 32

30

29

28

174


COMPLEX

Tirar

46

Repetir 32-42

47

49 48

Tirar

Hundir

175

Dar la vuelta


COMPLEX

Estirar

Estirar

Abrir

Volver a cerrar plegando por las marcas

176


COMPLEX

62

61 Estirar Dar la vuelta

Estirar

65

Estirar 66

177


COMPLEX


72

73

Repetir detrás 71

Sacar el papel y cubrir el ala

70

69

67

68

178


Repetir detrás

Aplastar

Marca del paso 77

179

COMPLEX


COMPLEX

Aplastar

Hundir

Sacar el papel

90 º


180


Dar la vuelta

181

COMPLEX

COMPLEX

90



90

Marca del paso 74

Hundido cerrado

182


COMPLEX

Sacar el papel

Separar las dos capas y aplastar 115

Sacar el papel

183


COMPLEX

Sacar el papel

Hundir

Hundir

184


185

COMPLEX


COMPLEX

139


186


COMPLEX

140 141

Sacar el papel

142 143

144

En esta nueva versión he mejorado el proceso de plegado para que acumule menos papel y he eliminado los dedos de las patas para simplificar el modelo. El diseño de las cabezas y la alas también es nuevo.

187

Chapter 4 Robert Harbin Celebration

188

4.1. AS I KNEW HIM BY DAVID LISTER

ROBERT HARBIN CELEBRATION

Robert Harbin: As I Knew Him b. 14 February, 1909, South Africa; d. 12 January, 1978, London, England

David Lister

Introduction My first acquaintance with Robert Harbin was through his book, Paper Magic. I had long been interested in the concept of folding paper without cutting it and had been looking for books about it. In 1956 I had found Maying Soong’s little book, but I wanted more. It was, therefore with some excitement that I discovered Paper Magic for sale in a local a bookshop sometime in 1958 and I immediately bought it. Even then, it was two years after its first publication. If I had been enthusiastic when I discovered Maying Soong’s book, I found Paper Magic to be a much more substantial book altogether. Here was a real introduction to the history, philosophy and practice of paperfolding, covering many aspects of the art. It was here that I had my first introduction to the word Origami as the Japanese called their folding. It was here that I found the rules of folding and it was here that I received my first information about Gershon Legman and also about Akira Yoshizawa who was already a legend in his own lifetime.

Who is Robert Harbin? But who was the author of Paper Magic? The dust cover of my copy of showed a handsome, suave man in evening dress. It said that he had been born near Balfour in South Africa in 1909 and that he came to Britain when he was aged about twenty in 1929. He worked as a magic demonstrator at Gamages’ store in London before becoming a member of Maskelyne’s Theatre of Magic at St. George’s Hall in London where he stayed for three years. So, like so many paperfolders, he was a magician. I discovered that his parents were both English, but that they had married in South Africa. I also found that Robert Harbin had been born ”Edward Richard Charles Williams” and that his family knew him as Ned. But at Maskelynes, there was already a Williams in the show, none less than the managing director, Oswald Williams. Bob was firmly told he would have to find another name. So he chose Robert Harbin. Harbin was a family name on his mother’s side (It was not his middle name as has previously been suggested). The name Robert may have come to him because Robert Houdin had been a famous French magician of the 19th century and the name Robert Harbin echoed Robert Houdin. The name Edward Williams was almost forgotten and acquaintances called him Bob, although a few intimates, including Lillian Oppenheimer, still knew him as Ned. I knew him as Bob, so I will continue to use this name in this article. 1

189



During the Second World War Bob joined the Royal Engineers as a driver. He was subsequently commissioned. However, he then became a liaison officer with ENSA, the forces entertainment service and spent the rest of the war in the Middle East and India. Remarkably, he left the army as a Lieutenant-Colonel. In India he liked to visit the markets to observe the fakirs at work. They were taken aback when a British army officer produced a coin and performed his own mystifying tricks. He told how he tried to discover the secret of the Indian rope trick, but he never saw it performed and concluded that it never existed.

Magic and Paperfolding Bob had become interested in magic as a young boy, when he was given a magic set. It was more than a passing fancy and he used to write to London for new tricks and books about conjuring. We know that Bob (or Ned as he was then known) had, as a boy, known a few paperfolding models, including the flapping bird. It has been suggested that his introduction to paperfolding may have been through some of the magic books he bought by mail order from London such as those by Will Blythe and Houdini, both of whom wrote books named Paper Magic. These were basically about magic using paper, but they did contain some true paperfolding. However, Bob’s interest in paperfolding remained dormant until a serious misfortune occurred in a theatre in 1953. Bob had married his magic assistant, Dorothy and they toured the theatres together. One Sunday they were in their dressing room during a rehearsal when Dorothy’s clothing caught fire and engulfed her in flames. She was seriously burned and was eventually taken to Stoke Mandeville Hospital. The hospital had become famous during the war as a centre of plastic surgery for treatment of service personnel who had been disfigured or disabled. Apparently they still treated servicemen because, during a visit to Dorothy, Bob came across a group of airmen who had suffered burns to their hands and were using paperfolding as occupational therapy. He found that the book they were using was Paper Toy Making by Margaret Campbell, a Scotswomen, which had been published in 1937. In its way it was an excellent book and contained many paperfolding models, including some which Margaret Campbell had apparently found in Japan, a country that she had visited with her husband who was a diplomat. By something of a coincidence, Eric Kenneway later discovered that Robert Harbin was distantly related to Margaret Campbell through his mother! By another coincidence she had, like Bob, been living for many years in South Africa The meeting with the airmen and finding Margaret Campbell’s book was Robert Harbin’s reintroduction to paperfolding. (It was not yet known as Origami ) and he became inflamed with enthusiasm. The first person he consulted was Alfred Bestall, the writer of the Rupert Annuals, who had introduced paperfolding into the Annuals, beginning in1946. They exchanged models and in particular the Elephant and the Pack Mule, which appear in both Bob and Alfred’s books. Little did they know at the time that they would later become successive Presidents of the then non-existent British Origami Society!

2

190



Growing Interest in Paperfolding Bob continued to collect information about paperfolding, mainly from books. He may have used the library of the Magic Circle in London, but we cannot be sure of this. Fortunate events helped him in his search. He was employed to play the part of a conjuror in a film called the Limping Man and on the set he met the exiled American, Cy Enfield who was the film’s producer. Cy was an old school friend of Gershon Legman, who was then living in France and they had kept in touch. Since 1945, Legman had done considerable research into paperfolding in New York, combing through libraries and trying to establish contacts with other folders. Not least of the people he had found was Akira Yoshizawa, the great, but hardly yet known folder from Japan. He also found Dr. Solorzano Sagredo and Ligia Montoya in Argentina. So Cy Enfield introduced Bob to Gershon Legman and they were able to exchange information about folding, which was very valuable when Bob came to write Paper Magic. Ligia Montoya sent him several Argentinean books on paperfolding which were unavailable anywhere else. Bob also managed to get in touch with the daughter of the late Miguel de Unamuno in Spain and she sent him several Spanish models, some of which he was to include in Paper Magic As early as 1955, Bob had managed to persuade the BBC to let him have a slot in the children’s television programme, Jigsaw to demonstrate paperfolding. I came home at teatime one day to see two hands, which turned out to be Bob’s. They were folding what I later found to be the model he included in Paper Magic as The Kitchen Sink. So began Mr. Left and Mr. Right during which each week Bob’s hands folded a different paper model.. It was the first time in the world that paperfolding had been shown on television, but by no means the last. Bob himself had several further series of paperfolding on television. Jigsaw was followed by Crackerjack and there was later a long series of programmes on Yorkshire Television. The British Origami Society has been able to obtain copies of these for its archives.

Paper Magic and Origami Paper Magic was published in 1956 and as everyone knows, the Australian entertainer Rolf Harris was the artist who drew all the diagrams freehand. They were excellently clear and have never been surpassed. Rolf even contributed a few models of his own creation. Rolf’s friendship with Bob continued, and they appeared in a puppet show together in Jigsaw involving a puppet named Fuzz. Bob manipulated the puppet and Rolf did the speaking part. It was the real start of Rolf’s long career in show business. Unfortunately for origami, Rolf’s increasing popularity on television left him with no time to contribute any more to drawing diagrams for origami books.. But Rolf was always deeply grateful to Bob for giving him his break on television. The strange sound of his wobble board was originally discovered when he was waving about a portrait of Bob on hardboard which he had done to try to make it dry faster. He still shows it occasionally on television. Paper Magic had many more virtues. In it, Bob considerably modified the concept of foundation folds which he found in Margaret Campbell’s book and selected his own six folds that he named basic folds. He also included in his 3

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book what was later known as the Windmill Base, although he didn’t include it as one of his formal bases and he named it the Multiform. Bob also identified a number of frequently used moves in paperfolding, including the crimp, the reverse fold, the squash fold and the petal fold. He also included the pinch fold, although elsewhere he called this a Rabbit Ear and this is the name that stuck. All of these shorthand names made folding easier to describe and they were later incorporated, along with Yoshizawa’s system of dotted lines and arrows, in The Art of Origami. (Yoshizawa’s system was not, of course compatible with the perspective drawings in Paper Magic). Sam Randlett wrote The Art of Origami, after long discussions with Bob. The terms have since become part of the standard terminology of paperfolding. Paper Magic also included a useful bibliography, partly taken from his own knowledge and partly from information given to him by Gershon Legman. In all it was a splendid book, which still deserves to be studied. Paper Magic had the remarkable distinction of being translated into Japanese with the title, Origami Dokuhon, (Origami Reader ) the same as two of Yoshizawa’s books. Curiously it was issued under his real name of Ned Williams, something that has never been explained. For a time, Robert Harbin moved to Bermuda to help to establish a new television service there. He made sure that he also included origami in the programs! Perhaps because of the success of Mr Left and Mr Right, Paper Magic became a best-seller and was reprinted many times. It quickly crossed the Atlantic and came into the hands of Mrs. Lillian Oppenheimer, who was yet another person who had rediscovered paperfolding at about the same time as Robert Harbin. She had a daughter, Rosaly, who lived in London and within a year she had come to London and met Bob. For her the book was a revelation and it was one of the contributing factors that led her to form the Origami Center in New York in October, 1958. Paperfolding had finally arrived! Lillian decided to call it by its Japanese name, Origami because that sounded much more inspirational than mere, prosaic paperfolding.

The Early Days of British Origami Society Meanwhile I tried to keep up with news about paperfolding and I acquired a few more books, including some very colourful ones by the Japanese folder, Isao Honda. I decided to write to Robert Harbin. I mentioned the books by Isao Honda, which I thought were admirable and I asked him if there was an English Paperfolding Society. I received a hastily written but friendly reply. He said three things: first, there was no English Paperfolding Society; second he said, emphatically, that Isao Honda stole Akira Yoshizawa’s models and thirdly he urged me to write to Lillian Oppenheimer. How I wish that I had taken his advice! But pressure of work made me put it off until 1964. By then Samuel Randlett had written The Art of Origami and this book also advised people to get in touch with Lillian. This time I did so and received a warm reply from her. I continued to correspond with her and she found lots of books for me to buy. About the same time the Sunday newspaper, the Observer printed two small features on paperfolding. They were so popular that Robert Harbin was asked to contribute a few more. Then the editors seem to have lost interest. But I cut them out and saved them and others did the same, including Sidney 4

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French. Other people in Britain also wrote to Lillian Oppenheimer, so that she was later able send Iris Walker a list of her names. Iris was able to form the first contacts between British folders. They included Sidney French and in 1965, he organised the Origami Portfolio Society which led to the formation of the British Origami Society in October, 1967. In April, 1966, the members of the young Portfolio Society were invited to visit the home of Rosaly Evine in West Kensington to meet her mother, Lillian Oppenheimer, on her annual visit to London to see her grandchildren. So the members of the Portfolio Society met for the first time. I entered a large room with people sitting round a huge table in needless trepidation. I quickly identified Mrs Oppenheimer and she was warmly welcoming. But who was that wizened man across the table? It soon became evident that this was Robert Harbin, already a friend of Lillian, who had also been invited to attend. He looked somewhat older than the suave young man of the dust cover of Paper Magic! But he, too, was very welcoming and we soon got to know him. It seemed natural that we should ask him to accept appointment as the President of the Origami Portfolio Society. Later, as soon as the British Origami Society was formed he became President of the British Origami Society, a position that he held for the rest of his life. Robert Harbin took no part in the administration of either the Portfolio Society or the British Origami Society and neither he nor Lillian Oppenheimer were the founders of either society as some have supposed, But both did help and Bob gave us ample inspiration and support. It was not just moral support: Bob also gave us financial support, but this was always done very privately. He lived in Clarence Gate Gardens within a stone’s throw of Marylebone station and when the Society grew too big to hold its annual spring meetings at Rosaly’s home, he found a new meeting place just round the corner from where he lived. This was the Vienna Café in an arcade just off Baker Street. We met there for our spring meetings for three years in a basement room. Two of our visitors one year were Lillian Oppenheimer and Alice Gray. The new British Origami Society soon outgrew the Vienna Café and residential meetings were mooted. They took place for a few years at such places as the Kingsley Hotel, the Ivanhoe Hotel and the Kenilworth Hotel, all not far from the British Museum. Not long afterwards, residential meetings in the autumn were added, but they took place at the Cobden Hotel in Birmingham. Bob continued to attend the meetings in London, whenever possible, but he was unable to attend the meetings at the Cobden because of his theatre and cabaret engagements.

Success with Magic and Origami Bob did not rest on his labours. Paper Magic was followed by two books, both published by the Oldbourne Press, who had published Paper Magic. Paper Folding Fun, of 1960 was, perhaps titled misleadingly, because it was not about origami. It was, however a fascinating book crammed full with all those other paper tricks, such as paper-cutting and troublewit, which have always fascinated people. Party Lines of 1963 continued the theme, with a wider variety of tricks and puzzles. Nevertheless, it did contain short sections about handkerchief folding and napkin folding, which are considered to be kinds of origami. Party 5

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Lines was a mine information about those minor forms of tricks and pastimes that were too small to be included in any of the professional stage acts of Robert Harbin the conjuror. His professional reputation as a conjuror continued to grow and he was the creator of many astonishing tricks, such as the Zigzag Lady that gave him a great international reputation. All were invented and built by himself in a secret location in the north of London. Nevertheless, Bob did not neglect his Origami. Dorothy was inclined to chastise him for spending so much of his time on Origami, when he might have been earning more money by devoting his time and energies to conjuring. However, his books sold in their hundreds of thousands. Bob’s books and his television appearances were now beginning to pay. And the resources for writing more origami books were increasing. After the formation of the Origami Center in 1958, Bob found himself to be a member of a spontaneous international fraternity of paperfolders who enthusiastically exchanged ideas and models by post and who were prepared to modify and build upon one another’s creations. Among the members of the group were Adolfo Cerceda, Robert Neale, Neal Elias, Fred Rohm, Samuel Randlett, Patricia Crawford and Ligia Montoya of Argentina, It all amounted to a revolution in origami as new and original techniques of folding developed. But apart from Bob, British folders were at first noticeable by their absence from the group, although one or two, including Iris Walker joined in later.

Secrets of Origami Samuel Randlett of Chicago decided to publish a sequel to The Art of Origami which would draw on models created by the group. Robert Harbin was in touch with him and he too decided to write another book. Sam and Bob agreed to avoid any duplication of models. The Best of Origami came out in 1963 and Bob’s book, The Secrets of Origami appeared after a slight delay in 1964. Between them the two books gave a first public taste of how radical the revolution in origami had been. In the absence of Rolf Harris, Bob decided to draw the diagrams for Secrets of Origami himself. When he had finished the task, he found he had improved so much that he started all over again at the beginning. The experience set him up for writing a new series of books. Bob’s next book, Teach Yourself Origami was published in 1968. By now Bob was able to draw the diagrams himself. He was able to include models created by members of the Origami Portfolio Society. It was probably his most successful book of origami. Soon it was issued in paperback as Origami 1 and it was issued in an American edition and also in several

European Translations It was followed by three more paperbacks in the same series. Cheap and accessible, and notwithstanding a few mistakes, the books were an easy access for anyone wanting to be come acquainted with folding. Unfortunately, the publishers, Hodder and Stoughton were taken over and the new regime decided to discontinue Origami 2, Origami 3 and Origami 4. Origami 1 reverted to being Teach Yourself Origami and it still in print in a revised and enlarged edition.

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All four books continued to be printed in a slightly shortened form in Hebrew. (Foreign editions were not published by Hodder and Stoughton.)

Tobias and the Angel Perhaps inspired by the animations made by Thoki Yenn, the Danish folder who worked for a time in England, Bob decided to try his hand at animated cartoons using origami characters. He found it a lengthy and daunting process in which the model had first to be folded and then moved very slightly for each frame of the film. He chose as his subject the story of Tobias and the Angel from the Apocrypha and with great persistence managed to complete a short cartoon which was shown on television. It was successful, but not an experiment that he ever repeated. The figure of the Devil in the story was printed in the special edition of British Origami no 69 following his death. The only other time this model has been reproduced was in Le Pli in France.

Bob’s Later Life Bob had an idea for writing a series of monographs of the folders in the group. Unfortunately it didn’t meet with the approval of publishers. His book of the folds of Patricia Crawford was the first to fail, but Bob did manage to incorporate thirteen of her creations in Origami, A Step-by-Step Guide which appeared in 1974. Bob also planned a book devoted to the work of Neal Elias, but again, it didn’t materialise. Instead, however, he included a few of Neal’s models in Origami 4, published in 1977. The British Origami Society is only now about to fulfil Bob’s ambition by making Neal Elias’s complete work available on DVD. In his later life, Bob adopted a life of semi-retirement, although he never retired completely. He embarked on a series of cruises on which he performed magic and taught origami for the benefit of the passengers. It was a very enjoyable life and it took him around the world to meet other magicians and paperfolders. He was especially greeted at meetings on both coasts of the United States and special meetings of many magicians were held to honour him. Some time around this period, Bob entrusted me with his files of correspondence with some of the folders of the origami revolution which followed the formation of the Origami Center. There were no files for Yoshizawa, Gershon Legman or Lillian Oppenheimer. Bob had presumably given them to other friends. The remaining files showed how intensive were the exchanges between the folders, all carried out by mail. In those days the Internet was in its infancy and only knowledgeable enthusiasts were prepared to struggle with the early personal computers. Bob never did have access to a computer. It was at a convention the Kenilworth Hotel that I met Bob for the last time. I was delighted that he brought with him Cy Enfield and we had a fascinating discussion about the origins of the modern origami movement. Cy told me about his schooldays with Gershon Legman, what sort of a person he was and the contribution he had made to the modern origami movement. Bob added further information about his contacts with Gershon Legman. But he gave no indication at all that he was already seriously ill and was about have to endure a major operation. It was not Bob’s way to give in to illness. When we heard

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that he had had an operation, I then realised why he had entrusted his files to me. After convalescing at a south coast resort, Bob decided that he had recovered enough to go on another of his cruises, this time round the world, He intended to visit New Zealand to appear on television in a programme arranged by Laurie Bishman. But this was not to be. His symptoms returned and he was in great pain. When the ship reached Hong Kong, he sought medical advice. The news was not good and he was advised to return home by air immediately. It was clear that he had not long to live and he used the time left to him to put his affairs in order. He telephoned Mick Guy, who was then the secretary of the Society and who had come to know Bob well, to tell him he was dying to give instructions about the whereabouts of his origami collections so that the Society would be able to collect everything. He made similar arrangements for his magical collections. Bob died on the morning of 12th January, 1978 at St. Mary’s Hospital at the comparatively early age of 69. A memorial service was held at St. Martin’s in the Fields in London on 23rd February 1978 at which many representatives of the worlds of the stage and of magic were present. The British Origami Society was represented by several members of the Society, including Alfred Bestall (who later succeeded Bob as President) and by Mick Guy. Rolf Harris gave the address. British Origami no 69 for April, 1978 was a tribute to the Society’s President and his photograph appeared on the front cover. Eric Kenneway wrote an obituary.

Bob’s Legacy In his will Bob bequeathed the copyrights in all of his books, both about origami and about magic to the British Origami Society. This was probably his greatest gift of all and the Society has ever since benefited from the royalties that have been received. Later Dorothy made a gift to the Society of Bob’s books on origami and his collection of models and origami papers. This greatly benefited the Society’s collections and its library with books which included the South American books received from Ligia Montoya which were by then impossible to obtain. I knew Bob as a very friendly and approachable man. He was warm and helpful and always protective of the British Origami Society. It was the hope of members when he died that they would continue to promote origami in the ways that he had striven in so many ways to do.

Final Words Robert Harbin was first and foremost a stage magician and he is still held with the greatest admiration by the magical fraternity throughout the world. But Bob often admitted that stage magic was only an illusion. In contrast, for him, Origami was real magic – the magic by which a simple square of paper could be transformed by a few deft folds (and without any cuts!) into a bird that would flap its wings - or into anything else in the world: animals, birds, inanimate objects or abstract patterns. When he wrote Paper Magic in 1956, paperfolding was a much simpler art than it has become today. Modern origami

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would have come about without Robert Harbin, but as modern origami evolved he was one of a small number of folders who played a major part in transforming paperfolding from the simple recreation as he found it into the complex art form that we know today.

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4.2. MY MEMORIES BY MICK GUY


My Memories of Robert Harbin Mick Guy The story of how I became the Society’s first Secretary has been written many times. A naive 20 year-old caught off-guard is probably the best way of putting it but it is something in my life that I have never regretted. Undoubtedly one of the loveliest things to happen because of it was that I got to know (well a little bit anyway) that wonderful man Robert Harbin. Bob was the first famous person I had ever met. We did not meet often. He communicated with a letter of five lines or a quick phone call but he always sought to tell me what was going on, even if I had little time to prepare for it! At one convention he casually mentioned that he had secured an article in the Woman’s Own magazine. It was going to be published that following week so I may receive a few enquiries. We hadn’t been in existence long and anyone who contacted me received a hand written reply. So when the postman knocked on the door that morning and handed me a bundle of 30 letters I started to get concerned. When he returned again that same afternoon with a further 50, concern turned to panic! Fortunately I was at college at the time and I was able to get one of the secretaries to print me a duplicated letter. This was just as well as we ended up receiving 1200 enquiries from that article alone. Nothing like that happened again but it showed us that there was interest out there. But it wouldn’t have happened if Bob had not been involved. It was his TV programmes his books and his articles that got folks fascinated and led them eventually to the BOS. He was pivotal to our growth and his enthusiasm rubbed off on all of us. Of course we also had the business brains of Sidney French, John Smith and David Lister to back it all up and a generous hostess in Rosaly Evnine who willingly opened up her home to enable us to meet. Apart from his death, I only have one sad memory of Bob Harbin. If it had not been for his wife’s tragic accident where she was severely burnt, he would never have visited her in hospital and found some airmen in similar difficulties struggling with some diagrams in an old origami book. This began his interest but Dolly could never get to grips with it. Even showing her the first royalty cheque for Teach Yourself Origami did not impress her. When I visited her after his death she sadly admitted how angry she got at him as he drew his diagrams on a small drawing board resting on his lap. “But I wish he was there doing it now.”, she stated.

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4.3. A TRIBUTE BY DAVID LISTER


Robert Harbin: A Tribute David Lister Sadly, Robert Harbin died on 12th January, 1978, at St. Mary’s Hospital, London, at the comparatively early age of 68. Some months previously he had undergone an operation for cancer and as part of his convalescence, he had embarked on a working cruise round the world in the P & O liner Oriana, something which he had regularly done before. His job was to entertain the passengers with magic, not a particularly strenuous job, and leaving plenty of time for resting. Unfortunately he became ill again and when the ship docked at Hong Kong, he saw doctors there. They sent him straight back to England by air. He had not long to live and spent his time putting his affairs in order and ensuring that his magical and paperfolding collections were entrusted safely to people who would look after them for posterity. He bequeathed his paperfolding books and the copyrights in all his own books to the British Origami Society. Hence, the Society is at present trying to get some of them republished. But it is not easy. Robert Harbin was, of course devoted to paperfolding, but his profession was stage magic. He was one of the greatest innovative magicians ever to have lived, constructing his new illusions himself in a secret garage somewhere in London, and working on them until he considered them perfect. Perhaps the best-known of his illusions was The Zigzag Girl, a development of Sawing a Woman in Half, where he actually removed the centre section of the box into which the woman had been put. Robert Harbin was greatly honoured on both sides of the Atlanic, not only be popular audiences, but also by his fellow professional magicians, who bestowed many honours on him. Robert Harbin was the first President of the British Origami Society and although it was an honorary office he always tried to come to our conventions, whenever his frequent cabaret engagements permited him to do so. He gave the Society enormous help, the real extent of which has never been disclosed in public. I remember him as a very friendly man, very accessible and always anxious to help expert and beginner alike. I suppose that without him there would still have been a modern origami movement, but if he had not written Paper Magic, it would have taken much longer. Modern origami in the west owes everything to Gershon Legman, Lillian Oppenheimer and Robert Harbin, and Robert Harbin was at the centre of the trio. Strangely, not one of the three was a great creative folder, but all three were great ceative facilitators. If Robert Harbin is no longer with us, his many origami books survive, for all to enjoy. I hope that succeeding generations of paperfolders will contine to learn from them and to come as close as possible to a great folder and a great man.

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The Origami Books of Robert Harbin Paper Magic Robert Harbin’s first paperfolding book was Paper Magic which was published by the Oldbourne Book Company, a division of Express Newspapers Limited, of London, in 1956. A paper-backed edition ws published by J. Maxfield Limited for many years, but appears to have gone out-of-print only in the last few years.

Secrets of Origami, Old and New Harbin’s second book was Secrets of Origami , originally published in 1963 by the Oldbourne Book Company. It was reprinted in another hard-backed edition by Octopus Books in 1971, but was out of print for a long time. A new paperbacked edition was published by Dover Books Inc. of New York in 1997. This has corrections to the instructions and a new Introduction and a new Preface. It is still readily available available.

Teach Yourself Origami Teach Yourself Origami, the Art of Paperfolding was originally published as a hard-backed edition by The English Universities Press, a division of Hodder and Stoughton Ltd. in 1968. A paper-backed edition under the name Origami, The Art of Paperfolding was published by Hodder Paperbacks in 1968. The following year the title was changed to Origami 1 and the book is bestknown under that title.

Origami 1 – 4 Origami 1 was followed by Origami 2 , Origami 3 , and Origami 4, all of them issued in paper-back by Hodder Paperbacks. Origami 4 was published in 1977. Soon after it was published, Hodder and Stoughton were taken over and with change of policy the whole series was discontinued. Consequently, few copies of Origami 4 were ever sold and it is now eagerly sought after by collectors. Origami 3 is also quite difficult to obtain second-hand. A hard-backed edition of Origami 1 with coloured plates was issued in 1973 under the title Illustrated Teach Yourself Origami by Brockhampton Press, another division of Hodder and Stoughton In 1980, Hodder and Stoughton reissued Origami 1, still as a paper-back, in their Teach Yourself Series, with an updated historical intoduction. For the 2003 edition, some new models were added by Dave Brill. Unfortunately the other three books in the series have not been reprinted in Great Britain. Origami 1 and Origami 2 were reprinted as paper-backs in the United States. Origami 1 is now published in the United States by Harper Perennial, with the new historical introduction, as Origami, The Art of Paperfolding. Origami 2 was published in the United States by Barnes and Noble Books, a division of Harper and Row in 1982 with the title New Adventures in Origami. I do not know whether it is still in print. So far as I know, Origami 3 and Origami 4 have never been published in the United States. Various numbers of the series have been published in French (in Canada), in German, in Italian and in Hebrew and perhaps in other languages. Two 2

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shortened booklets were published in Swedish. Some of the foreign-language editions may still be available. I believe this is true of all four books in Hebrew. I understand that Origami 4 in this series is slighly shortened, but this is one way of obtaining a copy of the coveted Origami 4. Needless to say, a knowledge of Hebrew is not necessary to follow the diagrams.

Origami, A Step-by-Step Guide Harbin’s Origami, A Step-by-Step Guide was published in a hard-backed edition by the Hamlyn Publishing Group in 1974. It is notable for including many of Patricia Crawford’s models. Dover Books Inc. have also republished this book in a paper-backed edition and it, too, is readily available.

Have Fun with Origami The only other book by Robert Harbin solely devoted to paperfolding was Have Fun with Origami, published in both hard-backed and paper-backed editions in 1975 by Severn House Publishers Ltd. in conjuncion with Independent Televeision Books Ltd. It contains many simple models sent in to Robert Harbin in the course of his origami series on the Independent Television Look-In programmes for children.

Other Books Robert Harbin also wrote one or two other books either solely about paperfolding or containing paperfolding, but the above are the main books for the serious paperfolder. His Paper Folding Fun (Oldbourne, 1960), despite its title, disappointingly contains very little paperfolding, but is a book of paper tricks and puzzles and paper-cutting. Party Lines (Oldbourne, 1963) is another collection of tricks and puzzles or a more general kind and not confined to paper. However, it contains a short section on origami with eight models and also sections on Handkerchief Tricks and Napkin-Folding. Robert Harbin wrote other books, mainly devoted to conjuring, which was his own profession, but they do not contain paperfolding.

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Editors’ Selections Robert Harbin generously bequeathed the copyright of his books to the BOS. As a tribute to his work, we reproduce some highlights from his origami books.

Paper Magic Before Akira Yoshizawa’s diagramming conventions were adopted, most books about paperfdoling used instructions in the style of “fold A to B ”. Origami bases were beginning to be organised into a system – here Harbin extends Margaret Campbell’s system. Rolf Harris’ lively illustrations for the Bow Tie are appealing. Unfortunately modern British bank notes do not produce such attractive results, but American dollar bills still work well. A rectangle of patterned paper is a good alternative.

Secrets of Origami After Paper Magic, Harbin drew the diagrams for all of his subequent books. This book now uses the familiar standard origami symbols, procedures and system of bases. Curiously the text instructions are on separate pages from the diagrams, a feature Harbin deprecated for Paper Magic. One of Harbin’s rare models is here. Harbin’s first bat in Paper Magic was folded from a Bird Base. This one is folded from an equilateral triangle with no cuts.

Origami 4 Harbin wrote in the Preface that this book features a few of Elias’ folds, and wished to do the same for Fred Rohm in a Origami 5. He also hoped to produce a “mighty tome, in colour, featuring the unique work of Neal Elias and another for that master of the art Fred Rohm”. Sady, this was to be Harbin’s final origami book. Developing the subject of diagramming in Origami 1, Habrin wrote It has taken about a year of spare time to complete the drawings . . . nine months on the luxury cruise S.S. Canberra . . . three months in Hollywood ... and the rest of the time in Regent’s Park in London. I am happy that the task is over because I am beginning to see double. Introduction by Eric Kenneway.

Origami, A Step-By-Step Guide Toshie Takahama’s Yacht is classic simple origami.

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4.4. BOW TIE (TRADITIONAL)


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4.5. BAT BY ROBERT HARBIN


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4.6. YACHT BY TOSHIE TAKAHAMA


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4.7. DANCERS BY NEAL ELIAS


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Index Designer Aharaoni, Gilad, 19 Arnstein, Bennett, 14 Bandoni, Nicola, 143 Biernacki, Artur, 144, 150 Binzinger, Evi, 22 Bolitho, Mark, 106 Bright, Mike, 32, 34 Carrillo, Juanfran, 24 Defoirdt, Tom, 50, 53, 134 Delgado, Nicolas, 43 Eduardo, Julio, 158 Eichel, Mattias, 81 Elias, Neal, 209 Gardin, Yannick, 27 Garibi, Ilan, 40 Gilgado, Fernando, 171 Guy, Mick, 198 Harbin, Robert, 204 Hoàng, Tiên Quyêt, 68 Hudson, Andrew, 89 Hulme, Max, 1, 48 Julio, Eduardo, 138 Kruskal, Laura, 36 Lang, Robert, 135 Leong, Cheng Chit, 118 Lister, David, 188, 199 Maya, Luis Carlos, 30 Montroll, John, 70 Morgan, John, 86, 95 Mouget, Yann, 46, 47 Needle, Jared, 102 Ni˜ no, Jaime, 38, 39, 44 O’Hare, Tony, 60 Ossa, Carlos, 58 Pardo, Jorge, 6 Pavarin & Yamauchi, 16 Pham, Huy, 112 Schakel, Loes, 10, 12 Serova, Victoria, 125 Shinde, Swapnil, 73, 78

Shuval, Boaz, 56 Takahama, Toshie, 208 Terry, Nicolas, 170 Traditional, 203 Trollip, Quentin, 162 Urrutia, A´ıda, 8 Valdivieso, Miguel Alfonso, 3 Vigo, Marc, 92 ˇ cek, Sanja Srbljinović, 98 Cuˇ Genre Action 8-Windmill Octagon Medallion, 16 Magic Spyglass, 60 Me Spin Long Time for You, 14 Animal African Elephant, 81 Bat, 204 Buffalo, 112 Cat, 48 Dachshund, 144 Guinea Pig, 46 Lion (CP), 143 Lion Mask, 125 Ox, 118 Rabbit, 106 Rat, 138 Wild Boar (CP), 170 Article My Memories of Robert Harbin, 198 Robert Harbin: A Tribute, 199 Robert Harbin: As I Knew Him, 188 Bird Bird in Flight, 32 Common Raven, 162 Parakeet, 53 Red Knot, 89 Rooster, 92 Song Bird I, 73 Song Bird II, 78 Toucan, 50 Boat 212

INDEX Yacht, 208 Decoration Benzaiten, 30 Standing Heart, 36 Fantasy Batman, 47 Motorised Crane, 58 Three-headed Crane, 102 Three-headed Dragon, 171 Fish / Sealife Manta Ray, 44 Flower / Plant Fir Tree, 98 Geometric NicEle, 43 Square Pyramid 36◦ , 70 Human Andean Boy, 8 Beating Life into Paper (CP), 134 Dancers, 209 Invisible Man, 19 Insect American Luna Moth, 68 Dragonfly, 150 Leaf-wing Butterfly, 135 Samurai Helmet Beetle, 158 Modular Boats Ball, 40 Double Flower, 10 Flower Dish, 12 Kusudama, 38 Kusudama 2, 39 Stellar Snap, 6 Money Fold Bow Tie, 203 Object Bottle and Stand, 34 Calligraphy Pen, 27 Piano, 24 Useful Object Bird Bracelet, 95 Card – Guitar, 86 CD Case, 1 Evi’s Chicken Egg Cup, 22 Heart Arrow, 3 Santa Ana Bowl, 56

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Credits Model Collection edited by Tung Ken Lam and Mark Bolitho; compiled and typeset with LATEXby Tung Ken Lam. Cover by Sharon Turvey. Convention Bookings by Penny Groom. Convention Programme by Colin Rowe. c

2009 British Origami Society and individual contributing authors. 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 the British Origami Society. The British Origami Society is a registered charity. Charity Number 293039 www.britishorigami.info

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BOS 2009 Nottingham Convention

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