Archive for the ‘papercraft’ Category
I just got back from New York. I arrived Thursday and came back today. I stayed with Adrienne in Brooklyn in a converted garage. Like last year I didn’t take classes, because I taught 5 classes and figured there wouldn’t be time. I missed seeing “Into the Fold” but did get to meet a lot of interesting folks. Interesting talk with Ray Schamp. Added a new face to Yaffa, Goran. Made a “purse.” Slept little, enjoyed my time thoroughly. Saw more of NY than usual. One thing that sometimes gets lost with convention goers is that we are in New York which is a fabulous city and the 4 square blocks around FIT are not where the flavor is. Harassed a bunch of people smarter than me about curvature and promptly “fired” them for not having the answer to my “sortoff” questions, although they both suggested I harass Erik Demaine which I will be doing as soon as I can craft an email that doesn’t make me feel slow. My questions arn’t really concise or clear, simply put I don’t understand enough about curved rotation to understand what is going on.
The people in my box design course did amazing and I was happy that everyone who attended my Labyrnth class understood the technique. Ben Parker’s work has definately progressed and Joel is now working on busts along with the faces. The form of the chest was amazing. Seth has great work and I loved Sipho’s way of displaying models. Goran has started pulling apart and approaching very organic nifty forms. Ana Sofia helped me make two large models for the oversized folding challenge (Two thumbs up for Sok) and disappeared before I could say my goodbyes. Joseph’s perfect piggy “Cleofis” has a lovely spot on my shelf (gracias oh Master JoWu;P.) Michael was the most adorable child ever. Brian Chan is still making amazing models and Alexander Soukas had lovely tessellations. Daniel Kwan is probably the most precise folder ever and has little crease elves helping him. Philip and Christiane were my first picture in NY and it was of their feet!
We took a terrific three hour boat tour on Tuesday, thanks Eric (for everything). A big thanks to Adrienne for her couch and her roommates tolerance of a squatter.
Adrienne and me
Goran, Bernie, Joel
Ape challenge, Sipho, Ben
Oversized folding challenge (Photo also known as “Shri’s Bum”) Ray Schamp
My exhibit (the blue thing is the curvy thing I wanted to ask questions about)
There were a bunch of things I sadly didn’t get photos of as I was rushing to do this before heading off to teach, so for the pictures I missed sorry and for everyone I had great conversations with thanks.
More photos here http://www.flickr.com/photos/christine42/
The photos are tagged “ousa 2009″
See you next year (maybe)
Made an instructable for one of the containers
So I reverse engineered a box for a friend that has the origins listed as a Japanese Anemone box that Christiane recognized as similar to a Fujimoto box. They are all variations on a theme. So I decided to play with curvature on these boxes and the results are below along with nondirectional crease patterns. What was so interesting is that a slight change with where the curvature is makes a large difference in the end product. So everything is creative commons on this site as always. Hope you enjoy. If you would like the viacad or adobe illustrator files email me and I can send them so you can tweak the design yourself. Remember playing with a design is half the fun.
This particular design is reminiscent of the collapsible lids. I also employed these nibs in a box I did awhile back.
1. First fold the dollar bill lengthwise with a mountain fold using the top and bottom of the one as a guide.
2. Fold over between one to two mm to the outside. This is to taste.
3. Mountain fold in half.
4. First orient the dollar bill like below. Take the crease and fold up to the inner part of the O.
5. Mountain fold so you are folding across the semicircle.
6. Fold the semicircle up to about the tip of the pyramid.
7.On an angle fold back the bottom edge of the bustier. The top part of the skirt angles because of a spreas squash. I recommend looking ahead to the next few steps first.
8. View from the back. Do the same symmetrically to the other side.
9. Back View-flip over.
10. Front view.
11. Fold down so there is about as much white as color.
12. Fold back up so the white is the bustier edge detail
13. Mountain fold edges on either side to shape bustier
14. Pull the center flap down
15. Flatten symmetrically as shown.
16. Shape edge of lower skirt on both sides symmetrically
17. Fold the bottom up to taste. In the back fold over the edges that are sticking out and tuck under the pleat at the waist. Pull apart the creases at the bottom to give 3 dimensionality to the bottom. It will not necessarily lie flat.
18. Now I push the pleat apart where the bust should be to make the bustier 3d. You are expanding the pleat only at the tip of the breast and then flattening the new creases. You can see the side view.
19. The last step is to push down the centerbar so that the bustier is more 3d and you only see the white band. Then you are done. Shape till happy.
As I never leave anything well enough alone I’ve been playing with a prior test. ”Degrees of Freedom” is testing the rotational capacity of a curved corrugation. I’m trying to think of an easy way to create an automata to create the nifty curves that can arise when playing with this. Below the blue piece is an assortment of stuff that peaked my interest, but never got beyond that. Tests are everywhere, finished pieces rare.
The one I most want to play with is the yellow design. It was interesting how it collapsed. The orange piece I liked, it stems from a series of layers I explored in the hexagonal world, but sadly ignored in the square based world. The main reason I never continued was the number of iterations I would have to do. The rectangle tess is interesting, because it is very simple. It is a modification of a basic hex twist.
Playing around lately, a little slow at doing things. Non uniform deformation and intentional partial crumpling. Wicked strong. I stood on it with my foot and it didn’t crush. The tighter the compression the stronger the structure.
I came across an amazing blog that has a ton of great posts on design, architecture, and artists. It isn’t strictly origami, but it has things that have some relationships to the art. I’m also not hung up on it being about origami, but on having posts/links about subjects I find interesting and this blog doesn’t fail. Check out http://dearada.typepad.com .
This is an artist that does marvelous stuff with wire, not Polly though I adore her work. http://dearada.typepad.com/dear_ada/2009/03/benedetta-mori-ubaldini.html . So much design and art and so little time.
Unrelated…. I have decided to go to Granada, Spain this summer to see the Alhambra and architecture. I would love to hear any suggestions for things to do besides the obvious places. Also if anyone is around there and interested in meeting up to fold I would love to meet. I am currently planning on going in early July.
So as some have noted photography isn’t my forte or for that matter puntuality. Some of these I’ve never posted and some I killed pics by accident so here is a bit of older stuff since I certainly havn’t been creating anything new that’s interesting. While cleaning out some old boxes I found a bunch of my old boxes from before I was tessellating. I am cleaning them off and in some cases going to redo and post (more for my limited memory than anything else) The “Saffron in Curves” was when I was playing with non linear g. pleats. The black landscape from San Fran a test and the red bowl is just a pic redo since the early pics were horrible.
1. This starts from a square. I recommend a thin paper, kami is fine. Fold in half lengthwise and then quarter.
2. Then fold in eighths as shown above.
3. Flip over.
4. From the eighth crease to the left of the center crease you will fold it 1/3 away from the center line. You will repeat this action 2 more times on that side. Then repeat on the other side.
5. Mountain fold to a little less than a third away from the bottom. A lot of these folds are to taste.
6. Then fold back up-about a quarter inch.
7,8. A little less than a half inch below mountain fold and then bring it back down about a quarter. This is the belt area and will be fairly thick. Mountain fold the dress back down to get the belt as shown in the picture.
9. You are spreading the pleat in the back so the edge from the tip of the pleat goes to the bottom of the dress. It folds back on the first pleat. You can see the light mountain folds in the previous step. The spread to the top is to taste.
10. If you like the neckline as is you’re done, otherwise(this works better if the belt is bigger and the bodice shorter)….To do the neckline mountain fold as indicated symmetrically on both sides. Fold the rest on a curve to taste.
11. To flatten on the back you will need to spread the pleats a bit.
12. These are minor variations. I did a small inside reverse fold on the bottom, then I did it to the other side. The final dress I pulled apart the skirt pleats lightly and enlarged the belt so it became more of a bodice.
It is easy to play with these and simple corrugations will work fine in the skirt area. Changing the size of the belt and how you fold the neckline can greatly modify the aesthetics of the dress. Plus it would be easy to play with the bodice pleats.
So the push to finish old crap projects is on. Not that it’s garbage, I just haven’t really had time and impetus lately to actually start any projects I’ve laid out. I should explain my approach is rather ADHD and my scatterbrained approach means time is relative. I wish I had focus. Partially finished projects litter my place and it is frustrating to find incomplete ideas, manifest in paper.
Sorry, enough kvetching. What is great is the number of folders who have taken up this avenue of origami and are running with it. I look forward to seeing them reinvent the wheel and then make it brand new. So the first pic is a tessellation that looks to me like “gothic” styled crosses from one angle and flowers (which they are on the other side) from another. This is from two years ago and had been 1/3 finished for a long time. Well now it’s done if not clean, but I am not starting it over.
The dollar bill dresses came out of an hour spurt of dollar excess last weekend. It reminded me of a peculiar childhood habit of mine-tissue dresses made for Barbie and Skipper. My Mom was never one for Barbie’s, but I ended up getting one and a Skipper as a present for my ninth? birthday from a little girl named Candy. I would make dresses out of tissues and ripping them and tucking and pleating for fun. It was a solitary activity as I didn’t play with dolls a ton, but I still have a doll with her raggedy tissue dress. The grey one was simply an attempt to design with a square, sort of envisioned it as a grey silk chiffon. I have the grey dress roughly diagrammed and can post as soon as I know it isn’t an infinite repeat, so I will be asking the o-list about whether the grey one is running about. I would assume the dollar bill dresses are also repetitive although I haven’t seen them before. The one that feels most familiar is the banded dress with the accepted bodice. The top ones are flat and the other two dresses are 3d.
Suggestions For Making 2d Tessellations 3d
- Take any flat tiling and see if you have free flaps of paper. When you have free edges take the flaps push up from underneath and push into the center of the flap from the top. Consider the flat tessellation a net for an infinite number of tessellations.
- This does not have to be done symmetrically, but find the pattern so you can repeat it (although randomization can be interesting and is a good thing to play with).
- If you have successive layers then push the paper in or out in varying areas of the free flaps to get a wide variety of different designs.
- To create variation make the pleat depth vary. Instead of folding one layer over fold two. It gives you more potential collapses and variations.
- If you have done Eric Gjerde’s spread hex I have a variation you can fold on this site. Just look for the Labyrinth tutorial. Take any you have made and start playing with variation on with and 3 dimensionality.
- Another technique is to layer grids. First create a tessellation and then overlay another as if the grid was untouched. Generally this gives you extra paper that is constrained that you can play with.
The following two pics show the consequences of successive layering of pushing free edges in and out. The flat tessellation is first
E-mails about predecessors
I always appreciate information about designs and overlaps that people send me. Sometimes I see the connection and at times I do not (as I once received an email with only an attachment of a crane in regards to a tessellation), but it is always interesting to see connections and I always try to post links/info (although sometimes a bit slow).
Deb Pun Discoe sent me an email “…your heart lock reminded me of Alfredo Giunta’s “Angel” as published in an out-of-print “Origami : 30 fold-by-fold projects” compiled by Paulo Mulatinho”
Karen Reed also sent me an e-mail about a potential forerunner to the takeout container “I was just looking at the Florence Temko collection, mounted by Diana Lee’s Origami Resource Center website, and noticed this model:“Desktop Basket by Florence Temko Variation of a traditional model” You can view the picture gallery here http://www.origami-resource-center.com/Temko-B.html .
Thanks to both ladies for the information.
Slightly funny (at least to me) variant of a Valentine’s day bowl. ”Cough Up Your Heart”
Trying to make faces from pleats has been interesting. This was playing with a heart bowl I made. Only tried to make a nose and hint at a chin. The chin I took away because it didn’t work.