‘awe
me eek ee Cte aon
Advanced Techniques for Experienced Folders
15 Original and Challenging Projects
Make the Perfect Paper for Origami ArtADVANCED ORIGAMI
An Artist’s Guide to Performances in Paper
Michael G. LaFosseINTRODUCTION
‘Advances in Origami
Origami as an Art Form
About My Origami Designs
About This Book
TECHNIQUES
‘A Review of the Basics
Folding Paper Neaily
Reading Origarn! Diagrams
Basic Folds
‘Advanced Folds
Curved Folds
Wet-Folding
ABOUT PAPER
Paper Qualities
Grain
Paper Sirength
Fiber Choice and Blends
Ghoosing the Right Paper
Customizing Commercial Papers
Back-coating Tissue to Foil
Aliding Surjace Color toa Sheet of Paper
PROJECTS.
North American Cardinal
Origamido Buterty
Koi
SeaTunle
Squirrel
Toco Toucan,
Frog.
Ruby-Throated Hi ir
Goan Hummingind
10
10
5
15
15
6
6
8
B
19
25
25
25
6
26
26
25
30
3
3B
34
3
3
7
52
58
64,
68
2
Horseshoe Crab
Cattleya Orchid
Happy Good-Luck Bat
Big Brown Bat, Eptesicus fuscus
Praying Mantis
Panther Mask
MAKING YOUR OWN ORIGAMI PAPER
Tools and Materials
Pulp Preparatior
Beating
Basic Papermaking Steps
Coloring
Sheet Forming,
Pressing
Drying
The Finished Sheet
Making Duo Paper
PAPER PULP RECIPES
Paper Fibers and Beating Times
Three Gene
Kamiya's 50/0 Blenc
Robert Lang's Origami Insect Paper
Cotton Blend
Purpose Pulps
RESOURCES
ABOUT THE AUTHOR
7
&
88
2
301
m
5
6
16
17
ug
ng
121
124
127
229
330
433
34
234
135
135
136‘ADVANCES IN ORIGAM!
snes Ts to rind eis so recent that only in the ast century
artis relat
olen Ss
fame ot 0
A ey cates ec, rth orig
SP ypc pe or one gon oe Ted
Maing tne, es eae
nic communication:
advances in pul
sped the sharing of techni a e a
Fraps, résnge DVD, ox exzputes,eigami designs are no Tonge
Toned bythe memory ofthe techer and spodem designs have become in
ingly more complex.
There now tools hae als allowed the origami comununity to overcome certain
aetna problems in origami, Since many origami artists consider the use of
cutting and pasting tobe cheating, these techniques are not encouraged. Through
the overvhelming effort of the origami community, the technical problems of
g only—no cuts
creating models of any complecty with fold thas been solved,
‘fier alfa century of development, these technical challenges have melted away
‘Now it seems that thete sno subject that cannot be rendered without cuts.
Just as origami designs have evolved, so has origami paper. Once limited in
Yaricty of celor and patter, “origami paper” easily met the limited needs of the
hobbyists predictable repertoire, Nowadays, hundreds of varieties of origami
papers ate svailable in a wide range of colors, patterns, and sizes.
sreter demand for ready-to-use papers
his reflects a
that are beter suited to the vast new colle
tions of origami projects published every year, This is
the hobby. Honeves,
comple and
a fling this higher level, and such advanced projects requite paper with
Ha Tin dd gules The apr tht {hae ben able to produce have
pale Ger designs opus papeolcng technology to extreme limits The
signs of Robert ang, Satoshi Kamiya, Denil Robinson, and others have in tum
He me pole papers that are even thinner and stronger. This co-evolution of
Monk nase to cornu in exiting, unforeseen ways
ecan now (ld organ creat Ooi. aad
a mi erations with acidsfre papers, made fom high
Pees Mi cn lst for generations wid just minimal cate. And wih
FT patpapemaking techniques, you cant make your own incredibly
song aid fre piper, of any desi
Aes youn agen YM hes, sored specially for what
This com
wergence of tena
a nological advances in making strong, thin, archival
Peper wi he avanced computer and inform ie hist ie
ation tools for sophisticated origami
rigarn papers are sill totally unsuitable for much of todays
je origami designs, There arc relatively few origam!
IntRopuction
design has resulted in truly amazing works of folded paper art. This is indeed the
galden age of origami art, since many ofthe best artists of this gente are stil alive
today, Most have practiced their ar within the last few decades, and this explosion
of documented origami designs is now evident in print, as well as on the Internet,
here a search of the word “origami” yields thousands of offerings.
Lower ip
Frontleg —Z
Hind leg!
\_fronttea
Vilbu the piglet was folded freestyle”
from 3 single 12-inch Go.s em) square of
handmade, cottonabaca-blent paper.
‘Michael was so taken by alive pilet tot
ting across its pen while on display atthe
Topsfield Fair that he produced numerous,
gesture sketches, and even made special
‘pigskin paper” for this model. He also
adopted an uncharacterstically loose
folding style to capture the piglets
happy spit
Many advanced models are folded
methods that are nt easily
shown in diagrams, resulting in
origami publications on video and
DVD. Other advanced warks are often
depicted only as crease pattems with
a photo ofthe inal model, rather
than individual step-by-step draw-
ings, since most people are simply
curious about the method, and only
accomplished folders ever attempt to
fold them. The basic fld (or base) for
Wilbur is actually quite simple, as
shown in this crease pattern, The tick
with any origami madels to breathe
life into the subject with a loose,
lyrical handling ofthe fnat shaping
that only wecfolding affords,his the base that results
om the crease pattern fom hich
‘Wilbur the Piglet was foie.
ORIGAMI AS AN ART FORM
‘The many advances in the technology of origami design and paper have enabled
the origami community to focus on origami asa form of art
Crigams's methodology i significantly different from most other sculptural
processes. Caving (in wood, stone, ice, pass, or plastic) is subtractive: material is
removed to reveal the final form. Building (From sand, clay, metal, wood, plastic
lass, or paper) is additive: materials are brought together to produce the final
sculpture. Single-sheet origami is metamorphic: nothing is subtracted or addec
(Origami is engineering, and every piece of origami represents a puzzle to
those who have never seen anything like it before, Becat
“How was this done® But some origami sculptures manage to go beyond this
surface reaction to convey a deeper message to the viewer, In these works the
artist's touch and vision are clearly evident. Like any work of art, these pieces are
a rare treasure and the viewer will not be so concerned with how it was accom.
of this, viewers ask,
plished. This is what | strive for in my own work, and what I enjoy most in the
best works of my peers.
Objects created with the intention of artistic expression are works of art
Whether they are judged good, great, or otherwise depends on the audience. The
choice of the medium does not predict the success of the art, Not all ll paintings
are great art, even though many great paintings are oils, An artist may use what
ever materials and techniques ate available. just as my life was changed when L
saw the origami self-portrait of Akira Yoshizawa, others are being influenced by
origami art that speaks to them, Art begets artists, The more that origami artis
shown, the more others explore and experience the power of that art.
ABOUT MY ORIGAMI DESIGNS
My origami designs can be attributed to a few different influences. The first of
these derive from my training as a biologist, which has given me unusual oppor
tunities to observe and study certain creatures in great detail. At first { am curious
about the cresture and try to understand it completely-—its physical form, typical
16
stances or postures, life cycle, behavior, even individual personality. Eventually, 1
must admit that I shamelessly fall in love with my subjects, so 1 want to show
others what I see, by folding fairly realistic renditions of them.
Many of my designs are based on living creatures. My most recent, popular
design is a simple cardinal. There are no complex technologies, nor are there
curved creases. The folding is straightforward and totally land marked (in origatni,
"land mark’ is physical reference point, such as a comer, edge, crease line, or
crossing point of several creases, which can be used to aid in the placementof the
Paper during the folding process), lam fortunate to have several cardinals around
my house, and their personality, song, and behavior have always thrilled me, 1am
‘These two images illustrate how | conjure
the gesture forthe final work using other
artistic mediums for practice, while
studying the subject in ts natura habitat.IM ack View. crear of
~ finding a huge Strombus on the beach.
5 Pessina ny allons
these to reach a length of about 6 inches:
“sen soimastomche my ovr. Deron
‘this plece with a wax version, thea made &
“scone rld, which allowed reto casts
hitehandmade paper pula core a a3
ture took nearly vo yeas fr me fo
apply about 50 lay-up (a “ay ub"s9
‘Tage term for building up afr by
applying ayeraer ayer of matra of
‘handmade pape m3ché as | sew this
shell. The gess0 has plenty ofan
‘carbonate tostifen the paper, since
wantedto care through the eious
Celored layers Fano to produc subtle
stripes The outer sface Mas been
rubbed with paste wa.
ADVANCED ORIGAN!
i
Jucky that the side profile of the cardinal is so easily translated into a simple
origami model. It does not bave to be wet folded, and you do not need special
handmade paper. The typical 6- or 10-inch (15- or 25-cm) red)black duo origami
paper is a perfect size range for these birds, and they make great ornaments for
this is perhaps the most
holiday trees and wreaths. Since, for the average folde
able ofall of my designs, the diagrams for this model appear at the beginning
1e designs that | enjoy every time I fold
of the projects section, It is also one of
it, [know each one will come out perfectly
My designs are also influenced by my joy in the process of
hhave reached a point where I enjoy continually exploring and refining a small
‘number of designs, just as I enjoy playing the same composition again and again
‘on the flute. From decades of exp
head, and then confirm the design by actually f
hands. {realized carly that by simply folding a square piece of paper, { could mak
ience, Ican develop a folding sequence in my
ding a piece of paper in my
any shope, but making it elegant isthe difficult part. Sometimes an origami koi
emerges as a more successful model than the last one. Sometimes it might not be
quite as successful in some respects, Nevertheless, it always comes out as a
‘completely different individu
Finally as much a8 I enjoy the process of cteating origami, | also like to
share my art with others. Todo this I co-founded the Origamido Studio with m
Partner Richard Alexander, This space allows us to dedicate ourselves tothe art
oF origami. Origamido means “the way, through paperfolding,” which is a word
coined to remind me that my best creations have co
iaumers. At our Origamldo Studio we held crigami workshops, design and
eate origami models, and make our own origami paper. We algo operate an art
ie from goal-inspired
a
IntRoouerion
1 take great pride in knowing that the creatures being sold
new location. My pieces are now
lecy in this spat
ery will be proudly displayed in
even loved as much as they were
‘ound all over the world, admired and perhay
when I made them,
ABOUT THIS BOOK
who seek a higher quality in their work:
This book is primarily for origami arts
Whether you are creating simple o complex models, paper choice, preparation,
ste, and technique are all crucial to the final product. These decisions will set
four work apart and make your experience more satisfying. Instructions are given
for advanced folding techniques. These techniques, such as wet-folding, are essen
al to creating more lifelike origami models. I also have included directions for
creating your awn origami paper, which is so important to creating not only
ncredible-looking models, but also models that last. While there are no shortcuts,
the lessons that I have learned and now present here willact as a compass for your
or your study I have chosen fifien projects from my original designs that 1
represent the richest journeys of my origami career. These pieces le
on a path of leaming, discovery, and personal and spiritual growth, and have
single sheet of paper
renewed my sense of wonder, Each project is folded from a
without cutting, Most of these subjects are the common creatures that live in local
woods and fields, and you will probably find the most satisfying results while
folding subjects that you, too, can study in person.
‘trombus gallus it Font View. THis view
captures my lifetime love affair withthe
interesting and sensuous forms of
rmellusks. The possibilities of paper are
indeed endlessADVANCED ORIGAI
“These projects maybe challenging technically artistically or both. Each project
ts best mastered in stages. Firsts the study phase, when you become familiar with
the rubject and lem iow to fold the model, At this stage, direct observation of the
Good photos or video willbe helpful. This is also when
ving subject i valuable,
Pen ‘any of the prescribed folding methods, You must
yeu determine ifyou will modify
Giscover which folding steps will cause you dificlties and how you will overcome
snd without wetting the paper.
them, Practice this with ordinary material
Next is the rehearsal stage, Strive to master all the technicalities and try to
memorize the folding sequence. To lo your best work you must become totally
thod, even if you rely upon the diagrams,
‘comfortable withthe entize folding m
sightreading, as you fold, If not, you may be encumbered by technicalities,
distracting your fll attention from the performance. During this stage of prepa
with the paper that you will use for the final sculpnire
Seca
Fee ae redagcankca youl lam abne ony fy
bernie he es sabe
Fe eee eee ey Vomrepe prt shen py of
Tere you vill create your finest examples, your powers have grown to produce
‘masterful and inspiring examples, Haw long will this take—éays, months, ye
Fach person is different and each project has its own unique demands, The real
value lies in the journey, and the quality of your experience will be evident, Be
patient, and your efforts will be capped with success.
TECHNIQUES
Why does my model look different than yours? My students have asked mie this
‘question many times. Part of the answer is experience, and the ether partie Vision.
The added skill obiained from experience is sumimed up in one word: technique,
Being an crigami artist requires that you perfect many different skill, from
folding to designing. As you gain more experience and develop your skills, our
‘origami models will improve, As with any art, it ig essential to learn the basics
first. Without good folding skills, an artist cannot contra the communication of
that [ developed prove useful when I
create new origami art designs. When you look at a piece of origami art, ask your:
ner’s message clear? Does the folder understand this creature or
How does the choice of paper complement the worl How has the execu
tion of the folds, the choice of the model, the color and texture of the paper. its
his or her ideas. The clever technical s
ize, nd its overall appearance affected me?” You will soon see that ittakes bath
technique and vision to make art. Once you develop your folding technique. you
will be able to explore the art of origami
A REVIEW OF THE BASICS
Before I discuss the advanced techniques used to create the projects in this book:
it's important that you are well acquainted with bs
folding techniques. Here's a
quick review
Folding Paper Neatly
The frst and most important technique in origami isto move the paper comeety
So many people begin by flding a paper crane, only tobe discouraged by sloppy
pains, «bent beak, or white showing in the middle ofthe wings. Much ofthis ie
sesolved by taking care to place the paper propery hefore creasing the fel. Good
eyesight helps, and forming the fold, then bumishing the creases with a bone
folder tool or the back ofa thumbnail often anakes all the difference: Generally
fold the paper away from you, andl crease the fold from the center to onesie, then
rom the center tothe other side. Is also important to place the crease exaclly
where it goes before burishing it into place, Make sure you have good lighting,
and nnd your head over the model to look straight down on the edges of
the layers, Parallax wl throw you of
The process of folding a piece of paper begins with making a bend. As you
decrease the radius of the curve ofthe bend, your commitment tothe placement
ofthe create intensifies. You must check the positon ofthe edges, making adjusts
‘ments 26 you continue to latte the bend. Some fads require that you Focus on
the placement of the crease, not the placement of the edges of the
‘example, when folding steps 14 to 16 of the Cardinal, oy it ol———novanceo onvcamt
TECHNIQUES
"decrease the radius ofthe bend while closely adjusting the rll ofthe flap until the
"crease intersects the exact corner of the paper.
Folding on a Table or Hard Surface
The best way to form a sharp crease is to burish the fold with the back of your ae
thumbnail against a hard surface, such as a table, a board, or a hardcover book, Foldbehind
Folding paper upon a tablecloth won't work well. The use of a supporting surface |
{s most useful where a clean, precise geometric look is desited. This is essential |
for paper airplanes and crigami puzzles. A folding tool, such as a bone folder or Feldand unfold
the back of spoon, is helpful where tough, heavy papers must be creased firmly,
and to save wear and tear on your nails when folding numerous origami models, ies
Holding and Foiding Poper in the Air “urnpapes over
‘We offen teach origami in schools and large assemblies, and so it is important for
tus to hold our paper up in the air so all can sce cach folding step. Invariably, we wy
see students hold their paper in the air, too, so we tell them to use the table, and Repeat behing
7
Cease Line
‘explain that we are holding the paper in the air to make it easier to see. Folding in Inside-reverse-fold
the airis challenging to the beginner and we discourage it at these public events >
When students are sure oftheir skills, however, they will find that folding off the Fush orpull Outsice-reverse-fold
table is essential to most intermediate techniques, such as inside and outside
reverse folding, and sinking, and advanced techniques, such as wet-folding, There
is « dancelike choreography that is possible only when the paper is Supported just Squash Fold
by your hands,
Reading Origami Diagrams
(Origami digarams are easy to follow ifyou know the language. Mountain folds are
Petal Fold |
Rabbit Ear
indicated with dots between the dashes, Valley fold lines have only d:
complex maneuvers are often shown by several mountain and valley folds, The
Dest clue is to look to the next drawing to see the resulting shape
shes. More
Basic Folds.
Here's a quick review of the basic folds with which you should be familiax
Fage to Crease
Most folds are created by lining up edges, or placing an edge on a crease, then
decreasing the bend until the two planes are flat. The beginner will often use visual
signals to decide when the edge lines up. More advanced folders will align edges
by fecling for the alignment. As you look carefully before placing the crease, be
sure to bend your hesd aver the alignment so that you can look straight across the
‘wo edges of paper, perpendicular to the table. A folder who does this realizes that
‘every sheet of paper has a thickness, Understanding and accounting for that third
dimension is helpful when planning to eliminate gaps after reversing certail
ereases. Wet folders using thicker papers tend to learn this quickly.
Inside Reverse Fold
‘When you pull a point between the outer layers of paper, you often turn a portion
‘of mountain fold intoa valley fold, This maneuvers called the inside reverse fold:
v7ADVANCED ORIGAM!
Outside Reverse Fold
‘When you pull paper buck over itself to enclose the other two layers of paper, yoy
‘also turn the tip ofthe paper over, showing the other side. This maneuver is calteg
the outside reverse fold
Robbit Ear
‘When you pull n paper from two directions and are left with excess that sticks yp
{s called a rabbit ear.
4 the midle, the maneu
Squash Fold
When you raise a multilayered flap perpendicular tothe table anid the remaining
paper, open the layers, and then press the center mounitain fold flat to the table,
this is called a squash fold
Petol Fold
When you pull «point across the other layers of paper, lengthening the form by
are making a petal fold
bringing in paper from the sides to cover the top, yo
Sink
When you reverse the mountains and valleys that form a point or peak. in order
tocteate an indented form, this maneuver is called a sink.
crimp
When you grasp a folded piece of paper and insert a symmetrical, mirtorimage
Pair of mountain and valley folds on either side of the central mountain fold, the
‘entral mountain fold turns direction due to a maneuver called a crim
ADVANCED FOLDS
The advanced folding techniques used for the projects in this book include curved
foldSand wet folding. These techniques take time to master, but they are crucial
to creating complex models
Curved Folds
Folds do not have to follow straight ines. Sure, straight folds are easy, Since two
Points define line, two land marks on an origami model often describe a great
place to make fold. Why make a curved fold? There ah
technological, the other i acsthetic. A curved fold
fold is nothing more than the spine of a hook, wh
Glose about the spine line. curved fold is a tension compreseion cacy 5
Wa veand tak. itdemands that the apr espond dscnhon Meee ea
sole: appetiance, and throns a sofier shadow. For these reasons, net clos
off finish their models with a ser Bere on aed
‘uh longer than all ofthe straight folds leading up to the himstang og
Te ake ced fll trace nach wits our umband ine ge in
Curves may be gentle or sharp they may be sinussidn ee
dimensionality and a Wyrcal, animate
re two reasons; one part is
locks its own shape, A straight
lere pages are five to open and
les of curved folds, a process that can take
ps
I. Curved creases can add
‘quality to the sculpture,
18
TecHmiaves
‘wet-Folding
\Wet-folding allows the paper to keep its integrity since the fibers will bend and not
break, as they do in dry folding, And the models stay folded after they dry. Heavy
papers that could otherwise not be used can be wet-folded, because once they are
wet, they become flexible and compressible
Wet folding changes everything. The paper fibers swell, often in one direc-
n the other (see the Grain section on page a5). This throws off the
point-matchers—dry folders who align every crease by matching points, The
wet-folder locates the crease, not the points: there isa difference. The advent of
tion more th
wetfolding brought about a new style of origami art. Wet-folded origamt fish
now appear to be swimming, thanks to the graceful curves possible in the fins
and other folds. Wet folded origami flowers seem to be growing, and butterflies
no longer look like pin-mounted specimens in a museum box.
ver since | began folding my own handmade papers and other soft, Asian
papers, I realized that I needed to back:coat, and or add size to them to make them
stiffer. had leaned about cooking starch paste for ather art projects, but since my
family was in the construction business, I had methylcellulose wallpaper paste
readily available, It did not require cooking, and when it dried, it was invisible. J
ried it, and methylcellulose proved ideal for my origami art. When I folded my
ing with machine-made crepe
orchid for the first time, in 1973. I was experim
paper. I realized that I needed to add both water to fold ét, and size to keep ft in
shape after it dried, Instead of moistening and surface-sizing the entire piece of
crepe paper [which would have destroyed the creping) I dry-folded the model, but
applied methylcellulose strategically to stiffen the lip and petals and to hold other
then I have referred to this method as “folding
mplex designs that use
layers together as I folded it, Sin
with live paste,” and I use it for folding insects and other c
very thin papers requiring added stiffness,
yentle curves and expressive, sculprural folds characterize
Soft, rounded
many of today’s excellent wet-folded models. Wet-folding requires paper with
supple, long, strong fibers. Wer-folding enables the papers’ fibers to be bent, not
broken, upon folding. This allows the artist to tackle complex designs that often
require multiple folds along the same line, or intersecting at the same point. Dry:
folding these complex models would not be possible without breaking through the
paper at key intersections. After being wetsfolded, the subsequently dried model
will retain its shape, a property particularly cherished by the serious origami art
collector. Wet-folding will allow you to make use of a greater range of art papers
that would be too thick to fold dry:
Wet-folded paper is heavier and rather soft. You should rarely burnish wet
papet with the back of your thumbnail, since wet paper is prone to bruising, While
vwet-folding large paper in the alr, you must use gravity to its best advantage,
folding downward from the top; leting the hanging portions of the paper guide
Your fingers to their target.
Wetting the paper with water can be done in several ways, but the water must
always be added to both sides of the sheet to mitigate curling of the paper. Water
may be sprayed with a plant mister. You can also brush the water on with a damp
cloth or sponge.
19‘ADVANCED ORIGAM!
TEcHMIQuES
Be sure to apply water evenly across the sheet and allow the water 19 by
absorbed iro the paper completely Use the least amount of water possible tg rmatecal has a slippery feel, just abit lighter than honey, (He careful not to spill
papershould be imp and cool othe touch, but it should no look vet! Add ype this onthe floor, since itis extremely lippery) ci. ‘
eater as needed while folding, A small sft punt brush or the corner ofa rags, | itil oe i oe i
useful for tis purpose. } about internal size anymore, since it seems '
Cardina) ix probably best folded dry. you need
‘Preparing Your Poper or Wet-Folding per
The surface propertics you want For your paper will be dic cg ifn
(eristies of the model. A hard, leathery creature, such 2s a bat, requires « stiffer such as methyleelh
fiber and plenty of sizing. A fuzzy mammal, such as « litle pigh
Applying Size to P
at by the Wetfolding is often easier when the sheet is conditioned wi
Before you wet the paper, cut it perfectly square, (After
ssuume its original dimensions)
will seat the model dries, it will
sofier fiber, such as cotton, with its fuzzier texture and warmth. Folding can by
tough on the sutface ofthe paper and most wet-folders prefer to use a size ube
‘ani/paste. When itis wet, it is slippery and protective; when it dries, it seems
fo vanish completely. The most popular mediums used are wheat paste or
methylceliulose.
Starch Paste
Archival starch paste can be made from cornstarch, potato starch, or whest starch
Begin by boiling water in the low
hamber of a double boiler. Add cold water to
the upper chamber, measuring five times as much wat
volume). Add all the starch to
sion. Continue heating and mii
for about a
starch cooks, ft thickens like pudding and begin
io clear. When it cools, t
thickens mere
Some artisans develop a rinalistic approach to pr
wheat starch, It isa
food source for some creatures soi you are not careful with the pucityof the water
the percentage of starch, the temperature, or other factors, microbial growth ean
furstarch into sugar allow tto ferment, and the mixture ca e ever futhe
contaminated. Acidic impurities are almost slways harmful tothe qualities ofthe
Paper: For these reasons, we prefer to use lab-grade methyleelulo 1. Mattils and supplies needed for adding Suface size 2. Molsten the paper with wate, font and back, Using
Methylelhilose is readily available shortcut 10 the traditional wheat paste to paper: hand:-puny spray mister, methylcellulose ponder the nest spay setting on a spray mister. Gently spread the
Used by Yoshizawa and oher paper arts Its refined and pure co tee cata wide brush, bowl, paper. droplets with a tight saeep ofa wide, fne-bistied brush (some:
aging and purification steps are unnecessary. Most paint and wallpaper shops
carry cried methylcellulose
fe se a songe or damp cloth): be sure not to abrade the
paper when itis wet. Allow enough time for the maisture to
Metbyicellulose: Preparing zo percent methyl
migrate throughout the paper.
We offen prepare a batch of methylcellulose b
lose in solution (by volume)
hy gently adding a ounces of
methylcellulose powder (using aliquid measuring spoon), to 20 ounc
(liguid measure). Sprinkle the powder slowly onto the surfa
You mix the water with the methylcellulose using
of water
of the water, as
stirring spatula, with a brisk
‘ining action. Be sure to scrape dawn the edges to keep the expandin
Wetted, The process is faster if you use a ble oe
more air bubbles
Using either method, aliow
the humps of polymer dissolve,
easier to work with
olution to sit for atleast a day or two, tole
Astist-quality methylcellulose
than the kind sok in wallpape
Stores, This mixture of viscous‘ADYANCED O8/GAM
Tecuniaues:
‘Back-Cooting Two Sheets Together
‘When you find a nice piece of paper that is too Hghtweight oF to
folding, it is necessary to back it with stiffer or stronger paper. We use
lulose or wheat paste to bond the two sheets back to back. Follow th
bback-coat two sheets of paper together.
3, Bush the so percent methylcellulose gel onto the paper
‘Spread evenly from the center tothe edges. The methylcellulose
ill penetrate the papor and adhere to the glass or plastic
a back-coat two sheets toxether, you'l need the tools shown
hete: starch of
nethylcellulose powder; bow! and wet brush to
2. To begin, cut the backing paper about an inch larger than the
prepered peste; spray mister; wid, dry brush for smoothing; dalicate paper. Moisten eath side oF each zheet witha fine
Irie (not shown), A large plywood beard (nat show) wil be used mist of water. Make sure they have expanded fully
] to support the back-coated sheet sit dies; you can als
se Decide which sides of the paper you want to shaw,
foam core or stif plastic for
“Movie prepralion to dy hay. One cost is usualy suthcien,
5. Peel thes
butallew each coat to dry f addtional coets ace desired,
aed peer The paper wil b
fold when it feels ike leather
4
4, Using a wide, soft, dry brush, apply the second sheet onto the:
tue ayer. Note the use of 2 woaden slat to contol the upper, free
edge ofthe black paper as iti being lowered, Use a second,
ent, wide dry brush to brush away any air pockets, working
from the center to the edge, Be sure nat to get paste on the biust
3. Smooth the water droplets with a wide, soft brush, working
only from the center tot
ges. Coat the backing paper
th methy cellulose or paste inthe same wa), brushing
From the center to the edges,ADYANCED ORIGAMI
5. Ate te si bibles ae bused ou use the ist 6. aya sal stp of paper across th glued marin oma
Fst bush carl pp) aot ier fase the fteor "oUt Tris mouth wi speed he renal
lao rah oft back raper (isi shoving ofthe died set rom tho eying board
Dey ages ef he ood ppc
cli cl dhl
adi
7 Turthe wet composite over onto the surface ofa board for
svg. Use a clean, dry, wide brush (or the dry brush you
Dreiously used) to smesth out ary ar pockets and ensure good
8. Nter the
bbetveen the drying boara
composites dy, carefully insert shaip kal
and the paper at the mouth, Slice the
oie around the margin to release it from the diying board,
‘contact atthe margins ofthe vet assembly,
9.The died "duo pa
AMfed “duo” papers now ready for timming and wet folding.
Fy)
ABOUT PAPER
art takes more than perfecting folding techniques; a¢ | said in’
os vision, An important part of achieving yout vision
Creating origa
the last chapter, it also ta
is selecting the right paper for your model. Selecting the ideal paper comple
nents your origami project. There is @ great sense of satisfaction and triumph
when you find the perfect paper. Although there are many hand papermakers
around, most of them have other purposes and other types of customers in
mind. Maybe your needs and goals will coincide with theirs, but with the
complex model you have in mind, the chances of that happening are indeed.
re. This is why we make our own origami papers, and we encourage you to do
he same. At the end of this book, you will find a section on how to make your
own paper. Though much time and effort is involved, the results ean be stune
ng, But whether you create your own paper or not, its still important 0 be
aware of paper composition and available commercial papers.
PAPER QUALITIES
We deal with paper every day, but few paperfolding enthusiasts understand
nough about the composition and manufacturing process of paper to know
which paper is best for a particular project. Most folders use whatever paper is
cadily available, such as office pap
thin, brightly
ust use
, wrapping paper, oF thos
i paper.” Many believe that you mu
‘origami paper” if you are doing o
focus on the att. Use real artiste’ materials, So-called “origami paper” is an inex
the casual hobbyist, crafter, and
mi, When you are making origami art,
pensive craftsupply item designed to sat
gradeschooler. It is not formulated to be a lasting material for high-end,
museum-quality paper art. Similarly, rarely will a hobbyist or origami crafter
choose paper larger than a ro-inch (25-cm) square, Paper is by far the most
limiting of the many limitations to good origami, yet the folders nearly always
san ex-chef, Ike touse a cooking analogy: You can't make
whole-grain flour. Get
blame themselves!
an exquisite angel food cake if you only have egg yolks a
ients!" Become familiar with paper types and qualities. Try to
piece of paper, oF what makes a certain Kind of
the right ingre
understand what makes a go
paper 1
selecting paper for your origami
Here are some thing:
for your proje
Grain
The majority of fibers in a paper with “grain! lie in the same direction, Hold a
all piece of the paper horizontally by one edge, then hold it by an adjacent edge,
You will see that it droops more when held in one orientation because the fibers
we generally aligned parallel to the greatest bend. (Think of the way that grass
beach mats roll easily with the “grain.") Grain is ertically important a wetfolding.ADVANCED ORIGAMI
Nulose fibers swell, they grow wider, not Tonge, just as a cactus, when
expand wider not alr Imagine what ths does toa perfectly cut quate
‘piece of paper wih pronounced grain when you wet it before folding
Paper Strength
Paper strength is one ofthe most enucial elements in complex origami art, Paper
Sirength is related to fiber choice, length, suppleness, and the characteristics
achieved in the beating process, The ideal paper will have a high resistance to
‘bursting and tearing, Paper strength can be rated when the paper is wet, and again
when the paper is dry:
‘The extreme technical demands of today’s super-complex origami designs
have also pushed the strength limits of readily available papers. Now our papers
must be formulated to take numerous, in
come not only fiom felding multiple layers. multiple time:
artists are constantly turning portions of their models inside out for clever color.
change effects, Add to that the fact
‘models are “action models” with movement that often stresses the p
creases. In addition, now that the powerful and important technique of wet
folding has gained worldwide popularity, paper must even be stronger.
cate creases. These additional stresses
but modern origami
several of today's most popular origa
Fiber Choice and Blends
‘The source ofthe fiber dictates the qualities of the paper. Today, many communi
ties recycle paper, and much of th
extremely short and weak. Wit
fiber would be useless. The origami artist has a wide variety of fiber sources to
consider, and each one has its strengths and weaknesses,
‘The most common paper fiber used in our archival papers is abaca
fiber is processed so much that it becornes
out special chemical binding agents, rnuch of the
fiber is from a plant in the banana family (Musa texts), and is prized for its long,
strong, relatively hard fibers. It may be the strongest known plant fiber! Cotton is
atthe other end of the spectrurn, yielding a sof, fuzzy fiber that wicks moisture
easily, making it one of the most desirable fibers to use in clothing, especialy in
humid, tropical climates. Other common plants used for hand papermaking
include ax (linen), kozo (mulberry), and hemp, These fibers can be beaten to
varying degrees, and blended in countless ways to produce a mind-boggling spec
trum of handmade papers suitable for wetfolding, (See page 1
paper fibers )
for more on
CHOOSING THE RIGHT PAPER
Realize that mastering 2ny origami model requires a serious commitment on your
Part and that you may fold the model many
sketch, or rough draft, need not be expensive,
tolls of inexpensive, thin tr
times. The paper you choose for a
We often work out designs on large
ig OF drafting thumbnail stock, called butterpapet
ue-backed foil (see page 30)
st complex origami designers. We also go through
acti paper’—paper that approximates the characteristics of
huge amount of 4
26
‘ABOUT PAPER
Here is an example of a preliminary
attempt, or practice piece, of my Big
‘Brown Bat in commercial paper (red)
‘before folding itn the higher-qu
handmade paper (brown)
the desired finished piece, but this paper may be “seconds,” or machine-made
paper readily available in art supply stores. You can purchase wide rolls of
Fadeless™" brand ‘which is colored on one side and white on the other. It
is ideal for practice—a “dress rehearsal” that will allow you to explore your model
ina larger scale than the sculpture you eventually desire
h for just the correct paper
he correct choice
When leaming a complex origami model, the se
for the final piece may take some time, Narrow your search
by starting a collection of labeled scraps or samples, noting on each yout likes and
ng and practice leads up to the big
nd the perfect paper to
‘execute your flawless rendition of that rascal skurik in your backyard!
Also keep in mind that after investing years of effort designing and executing
modern origami masterpiece, you want it to last, s0 the paper must be acid.free,
or “archival,” Can you afford to take the chance of producing a piece of fine art,
dislikes, successes or failures. All this seat
‘moment when you finally possess the skills, the vision.
using papers of unknown fiber content, with questionable coloring agents or of
doubtful quality? And so we seek archival qualities in the paper—not only so the
colors will not fade, but so the sculpture will not disintegrate into dust from an
acid attack, Perhaps there were great origami works in ages past that for one rea-
son or another did not survive to the present: When you take proper cate in mal
ing your own paper, you can be sue that your art will last for generations. That
the best reason for mal
‘out own paper.
If you are not inclined to make your own paper for your origami art, you will
need to look beyond the traditional packs sold as origami paper, seeking other
270 papers ore made for different purposes, 4
papers is aailable today, some of which are suitable for
jargon can sometimes be confusing. Here's a simple guide yy
md paperhas become a catch-all ategory for office and letter paper some.
times containing some amount of cotton rag. “Bond” paper was formerly used
to print stocks, bonds, and legal documents, but we now call neatly al office
poner “bond.” When an idea comes to mind, most people grab the closest piece
OF paper, which is ustally office bond. This paper is ideal for folding paper
aigplanes. Ibis rigid and smooth, and it takes s crease well, Bord is a good al
Purpose paper for designing and practicing most simple to intermediate
brigami designs. High-quality bond is perfect for origami envelopes and fancily
folded leters. Large sheets of bond may be cut from rolls, available at dratting
Supply and some art stores. It is not suitable for complex miniatures. Only the
best, acid-fee, 100 percent rag varieties are suitable for pe
Golors are limited.
Kraft paper is brown siock (w
rpamed for the Kraft papermaking process, which revolutionized commodity
papermaking for cardboard boxes, bags, industrial containers, and strong
economical wrappings. Kraft papers arc inexpensive and are commonly sold on
manent pieces
ually unbleached) with longer fibers. It is
rolls, so large complex works are most easily explored using Kraft paper. at
Origamido, we have rolls of Kraft paper in nearly a dozen colors, and often fold
party hats from it. The relative thickness is low, since the papers are ofter atleast
46 inches (91.5 cm] wide. On the downside, these colors fade quickly, and Kraft
paper looks old after a short time in strong light. It is not suitable for complex
Bris or pennant. pices, (The alte process, the cher
omitodity papermaking process is chemically harsher but it produces a brighta
pulp, easier to bleach and best.) —
Kami means “paper” of any kind in J
dnd in Japanese. As an origami term it fs
modem. Popular in English-speaking countries, it is used to indicate most
common types of orga paper. used for origami experimentation and era
Purposes. Standard packs have from twenty to forty colors, packaged in sizes
Tanging from to 14 inches (4 195.5 em), :
; oa bee Tefers to any of thousands of kinds of handmade Japanese
caper. Itmay be printed or plain, thick or thi s Sacailins ta
4 in, crisp or soft. Since these hand:
Exepiees are offen made in sina batches, 7 lots, wih ingredients tha va
€3th owing season, the changes in condone techniques, ahd
Personnel compound to yield diferent qualities and characterieucs, Cons
‘quently, specific types of handmade ae
discontinued, or off-quality,
acteristics, Conse:
oe a are unobtainable, out-of stack,
1 can afford it, purchase and
oe favorite and trusted kinds. Avoid those kinds made with wood
z= ferants or colored with poor: ee ea
‘imitations—eyen from Japan. Poor.quality dyes, Beware of machine-made
u
S5yw and Chirigamt papers are decorative, usually from kozo (mulberry)
fiber, with bit o
ae grands of underbesten fibers, These papers make great
Ui fldersince ed famed pape ant, but the inclusions often fasta
pathafyourercag) ist bs do nt fold well imagine rezdbiok inthe
The chunks of bark oF fibers never seem to stay out of your
tore @ good
way when you need to fold the paper, despite your best
bits even pop out of the edges of your mountain creases!
‘Gampi papers are glossy, somewhat translucent, made from st
from plants in the Daphne genus. These papers are available in many sizes and
thicknesses. They are splendid for folding origami plants and flowers. Buy natal
heets and color them yourself. You. will need to back-ceat or surface-size these
papers for most or
Rice paper is of
not made from ric
fo not know the truth about it yet. When you encounter the term in
poper but 1 de
your search, ask questions about the origin and the fiber content; if you do not
fet an informed answer and you do not know what you have there, avoid the
igami projects, wet or dry.
fien used to refer to any Oriental, often white, thin paper. [tis
‘e! There are many theories as to the origin of the word rice
per for serious work.
Pape unen isa general name for silicscreen:printed decorative papers. Wedding
favors, party decorations, and colorcoordinated gift boxes folded from Yuzen are
quite popular. We rarely use printed paper for animal or plant subjects, unless the
pattemn is integral to the message. Ifthe pattem would detract from the form and
Substance of the model, do not use it. Like most Asian papers, Yuzen is soft and
lthlike. Back coat or surface-size if necessary.
.e paper. These peaceful depictions of rural
CChiyogami is decorated Japané
life and pastoral settings grace Asian-th
rt, but they make elegant wrapping decorations, envelopes, and
med parties. Rarely would we use them
for origam!
backgrounds.
Paper money is widely used for origami projec
ofdesigns. The U.S. dollar is the most popular for these purposes, butother kinds,
each with their own specific dimensions, have their following, Thick but strong,
these papers are suitable for simple to intermediate folding. Do not hesitate to
techniques! Use nev bills where possible. Pattern, shape, and
There are many hundreds
employ wer-folding
color all figure into the final product
If'you enjoy paper, you will enjoy the adventure of discovering rare fibers and
exotic blends, Learn as much as you can about each of the papers you like to work
with, Purchase extra sheets when leaming about a new paper Keep samples and
alert to new kinds, and do not hesitate to experiment!
we sheet is cheap compared to other materials
employed in many other atts. Keep in mind that learning about the vast world of
paper requires a serious, deliberate effort. Do not be discouraged. tn short buy
and try, but be willing to learn from failure by keeping good notes.
record your results, Be ever
The cost of even an expt
CUSTOMIZING COMMERCIAL PAPERS
Ifyou don't want to make your own origami paper from scratch, and if you're
tunable to find papers that satisfy your needs, there are ways of customizing paper
to use in folding, We've alteady discussed backccoating two sheets together and
adding size to a sheet of paper (pages 2t-24) a8 ways to prepare paper for wet=
folding, ‘These techniques can also be used in preparing paper for dry-folding.
Here are some other ways you can create customized paper.ADVANCED ORIGAN
1. Tobond tissue pape to fll, you" need these tools; wooden 2. Fold the tissue paper over the
iat or done!, commercial or handmade tissu paper, spray ade:
tolock and register them Firly together
$e aluminum fil. wide, cry brush for smoothing.
4. Use a wide
tush to smooth the fll evenly onto the glued
Paper surface. Use a wooden slat or do
3. Apply 2 thin cost of spray aches
YOU have adequate ventiction and
may also use age sti
Me tothe paper Be sure that
flow the ceuion er Control the free edge of the (ol
but take care not orp the paper)
0
Papen
4 sheet oftiss
‘ished, trimmed tissue flitissue composite,
ready for folding,
Adding Surface Color to a Sheet of Paper
For some models, simply adding a certain color greatly enhances the overall look of the
inished product. When you can’t find duo paper available in the colors you want, i+
ring the back of a sheet yourselfis an easy solution,
1. To add surface color to paper, you'll need these supplies: liguld angie polymer
‘emulsion (blending Muid media, artist’ acre paints (tubes), wide Brush,
bowl, 10 percent methylcellulose gel emulsion Gn bowl), and paper.
A plant mister and glass may also be useful.
2ProjectsDesigned by Michael G. LaFosse_
color origami papers
of sheets of red/black paper: You
also make your own duo paper
the techniques described in thi
This crested, brightly colored finch is a favorite that
ut a backyard bird feeder hopes to attract.
chosen it as their state bird, Th
it every person putting
No wonder seven states have
is model shows a modern design using the
older origami style Of creating fiat profiles f famitiar objects. The beautiful
Jere hanony of shapes and proportions makes ths model elegant,
yet deceptively: Sophisticated. The mode! also reduces the Subject toa
Pa hg Leute Tie design tales cvantage’of two toned, or aUth
Paper that is allred on one side, al black on the ce
rsequence i direct, economical teresting,
a E28 Yothgeles was smiten withthe cartincL. ember beg:
089 My Darents fora plastic cardinal model Kit that | could assemble and
Crane Ganysell They dd not buy ie forme, but shone aftervard, Santa
Claus did. | tried for several Years to design a fitting origami rendition of
rrelavorite bid, but didnot succeed unt Richens ‘asked me to determine
sein marks on my Mourning Dove oo ha
Mone Otigamido Studio) though tmever
Mneurting Dove, curing the process | adh
tabi head and explored the oppor
change, My vision for
dimensional bird, just
Painted as
satisfying to
9¢b5 Like a
has an honest qual
3. Turn over
The folding process
‘and enjoyable,
id teach it to beginners
ished land markir
scover the
j the
potential to reshape
nities to accomplish a color
neat cardinal years ago was for fully three
"ke the plastic model that Thad glued together and
Child, The resulting flat fold is Guite a departure, yet just as 6..0pe
eae recite and understand, it
though itis folded flat
hat everybody can
city, even
ty inits simp
4, Fold each halfof the folded edge to
‘meet at he crease.
5. Fold the fee red edges tothe outside,
folded red edges, Unf
£8. Use the existing mountain and valley
ceases to fold the top comerand.
edges down.
cated valley ceeses.
7, Perform the inca *
Carefully note thet placement. Tum hs
paper over, backside up.
35NORTH AMERICAN CAROIN,
fepeat on the other sic
9. Your pape soul lok ie this. Fold the 10, Move te long, cut red edge tothe 111, Repeat on th
top righ corner tothe lef. outside ed fold ecg. Insde-reverse
fold the upper portion ofthis layer as you
retum the comer to the right. The smal
18, Fold the cut edge tothe crease. 19. Using the existing crease, fld over 20. Fold the free square comers ofthe
Repeat behind Repeat behind. hhead tothe middle ofthe folded edge. Fold
the fee red and black corners ofthe tall
over, covering the black paper completely,
t1ease installed instep 7 wil ad
this maneure
-12.fold the tp comer behind. Watch the
°° spat You ae actualy toggig the red
‘amend upside dawn ano overto the
othe side. This il be the head
14, Fold corner tothe lett. Repeat behing. ; : P ;
22, Bing down the comers on the head.
13.Foldinhatt 21. Pull upon the back corner ofthe head (rest) and swivel he
i ‘black paper at the front of the neck, changing the angle and dis:
v x
e-aapsat vehi 17, Unfold, front and back,ADVANCED OFIGAM!
23, Mount fold the bottom corer ins.
24, fold up the Dome fon ede of te head pape, aging tothe
{tease Repeat Leip Fold up the bottom Font edge again long the
‘tease Repeat behind
25, Wounian-and valley fl the foto the head to frm the beak
American Museum of Natural History in New York City, at the same time ;
that | was visiting Lllan Oppenheimer’s Origami Center of America. We
shared a subway trip ftom Lllian’s apartment to the museum, and inspired
by Alice's vocation, | spontaneously folded an origami butterfly from a
scrap of paper forher. Alice critiqued my creation, and lamented that it
was not from a square, since the general feeling cmangst crigamists in the
970s was that all good origami must be from an uncut square. Since this
design required o nonequilateral rectangle, | realized it was easy to start
with a square, and simply fold one ormore of the edges inward. As a
bonus, the extra paper falded inward atthe fist steps could be fashioned
later to produce interesting shapes and patterns inthe final steps.
This design 's actually a system of generating dozens of species of
butterflies, simply by mixing and matching several possible options at
‘each of the first few steps, We have included this model to encourage :
‘creative play using origami, See ifyou can think through the final effect
ing a particular change at an early step in the folding.
26.The fished North Amesican Cardinal.
of mal‘Apvanceo of1GAM!
PAPER SUGGESTIONS
When using due pape the body il
‘be colored diferent than the wings
‘egy there are many duo Paper+
‘prepared forthe origa hobby OU
‘can make your own duo papers by
painting one cx both ies ofthe sheet
‘otha they ae diferent most ary
paper ean be used asa base set Let
yout imagination soar! You can rely
OfIGAMI00 BUTTERFLY
9. Squash-fold the upper left and right
‘any coloring or decorating tecmiaues.
thet you wists tie ye, SPORSE. SPS 4. gag ithe color desire forthe
Stamp. penclorerayan..YOUCaN wines facing up Fold ha ecg to ede
ven run paper through a color printer! cu
Just make a colored area ina graphics
paper over and repeat with acferent
‘ologthen cut outa square shape for
folding Another method of making
vo paper isto paste two diferent
sheets together ifyou are making
handmade paper you can form two
sheets, eacha diteent color, anc
press them togethe,backto-back
When diy they will a duo set.
Sections, being careful to make the sauesh
‘eases hitthe center fflded line made
ide folded ede,
2: Fold eft and right edges tothe crease 8. Fold up the bottom c
8 10. Your paper wil ook Uke this, With the
abdominal corner atthe bottom, move the
top layers ofthe hind wings down, squash
folding tne bottom comers oFboth wings.
quarter donn from the
Unfold
inthe previnus step,
application ard print. ip the printed
3. fold inal shortedes together.
Squash eld the ttm corer,
a!
6. Your paper should look tke ths, Tur ove
7. Sou fold the bottom carne,
12, Mountln fol the hind wing edges
underto reveal the abdomen, Fold up the
top layer ofthe forewings
4, Fold nal right-side double folded 11, Form a mountain crease edge acioss
ites fa he let he middle ofa wing ard move it down
ard, reshaping the forewing and defining
«a separation between the forewings and
hind wings. Repeat with the ather wing. If
desired, turn the triangle of paperon exch
hind wing inside out
e
is €
13, tnsde-reversesfols the inceated corners atthe separation
14, Clean up the hack si with the incl
1 foles. You canbe creative with the
shapes ofthe top folds andthe midside=
folds,
point ofthe forewings and hind wings, Tur aver.