## Archive for the ‘papercrafts’ Category

### Been Awhile

So I have been, comparatively, out of commision to a large extent the last two years.  Work and getting a graduate degree took precedence over life, liberty, pursuit of happiness, and all that jazz.  Here is what I did in the last week and two modular instructions for units I did (sometime in the last several years, probably more recently, but memory is a fallible, short-term, gnat like thing for me) no guarantees they are not redundant.

Links to two modulars

### Proper Diagrams for Bulldog Bookmark

Bulldog bookmark 1.1

So Himanshu Agrawal asked a week or two ago about doing diagrams for a bookmark I posted pictoral diagrams for and I said sure that sounds great.  Wow are his diagrams wonderful.  I did  not expect anything so wonderfully done and really appreciate the work he put into it.  Diagramming is a talent I don’t have and Himanshu’s diagrams are concise and even are colored.  He is on facebook and flickr.

Link to an amazing dragon done for Dell computers from his flickr pics-amazing!

http://www.flickr.com/photos/orukami/3962399562/

His flickr site is www.flickr.com/orukami and the diagrams are here Bulldog bookmark 1.1 .

### Sine Waves and Twisty Headaches

So for some stuff for Singapore I’ve been playing with Sine Curves and this is some of the stuff that are outshoots of that.  So the paper I was working on was on rotation and compression limitation of curved corrugations and these are the tests.  Eventually I will do a post on the results, but there is still a ton to do.

Where they rotate through has a big difference on the degrees of rotation.  I call it spine one and spine two.  Spine two goes through the maximum of a spine curve and can be rotated a lot more.  The corrugation below is using spine two.

It’s really hard to see but this had some great textural and rotational properties that got me all excited, that and I wanted a choker and matching bracelet out of copper.

### Dollar Bill Wreath and Inchworm

So I have ended up on a tangent that I would eventually like to use for posting tutorials for my students and have lectures students can view if absent.  So I decided to try to create an origami tutorial.  I may have done this design before I sadly don’t remember.  Editing is a challenging business, as is seeing yourself (in all your redundant glory) on camera.  So for those who do post tutorials online kudos, it’s a lot harder than it looks.  I will within the next week post about Italy, but this comes first since it’s done.  Bear with me as it is my first attempt at video instruction and it is not polished all pretty, plus I am using the camera in my mac which doesn’t allow for as much flexibility in filming.  Youtube said it’s processing so here you go, remember creative commons applies to all unless stated otherwise.  Happy holidays.

Below is an corrugated automata that doesn’t inch the way I originally plan, but sometimes the best laid plans fail.

InchWorm

### New modular “Woven Wreath”/”Sun Dial” and some links I like

For people who have sent requests for things I apologize as I spent the better part of the last three weeks away from home and if it is for computer based candy container diagrams my other computer is not functioning right now.  I will send stuff when I have the computer up and running.

As usual if anyone has seen this modular please post information and links as applicable.  The unit was designed to create the same effect (although with a completely seperate unit) that another 3d wreath has.  The units are not remotely similar, and sadly my unit does not have the flexibility or strength that the other one has.  The modular can be done in 8 or 20 depending on the variation, of which there are many.  The instructions are for the 20 unit variation.  As for the oddly bolded sections that is something the blog is doing and I can’t fix-since wordpress is free I can’t complain.

1.  Get 20 square sheets.  I recommend between 4-6 inches square.  Fold in half diagonally.

2.  Fold as indicated and crease and then undo.

3.  Fold the bottom right edge to crease line

4.  Fold tips around edge and tuck them inside.

5.  Take top point and fold to bottom point and crease.

6.  Take the two flaps folded in the last step and fold inside the pocket.  You will have to reverse the direction of the crease on the front fold.

7.  Put the unit sideways and fold the tip so it is roughly parallel with the vertex of the obtuse angle.  Do it one and then rotate the unit and do it the other way.

8.  Finished unit, make twenty total

9.  Tuck in as indicated.  Make sure that you are tucked in on both sides.

10.  Keep adding units until you have the original photo.

Some fun sites.

http://www.archicentral.com/origami-chapel-st-loup-switzerland-local-architecture-771/

http://www.designshell.com/architecture/origami-inspired-bamboo-house.html

http://fcms.its.utas.edu.au/scieng/arch/cpage.asp?lCpageID=267

http://www.architecture.com.au/awards_search?option=showaward&entryno=2008031648

http://www.internimagazine.it/Dynamic/Publication,intCategoryID,72,intIssueID,306,intLangID,2.html

### Notes on Pleating Techniques and Applications

Lately, amongst other things, I’ve been playing with pleated structures.  This post is to help, me more than anything else, think about the differences, similarities, and pros/cons of different types of pleating techniques.

Paul Jackson is one of the earlier artists to work with pleating.  His pleated pieces are pleated (I believe) all in one direction than the other.  He then uses the additional paper pleats to pull them apart creating a curve.  The curve is not inherent in the pleating as in Goran Konjevod’s technique.  Paul Jackson’s website is http://www.origami-artist.com/ which has galleries and a lot of great pages to find out about him and his work.  Also different is that Jackson doesn’t constrain the edges.  The pulling apart of the pleats is the essence of the form and the direction they are pulled in decides the finished pieces form.  One of the most beautiful aspects (to me) of his work is his coloring of his pieces.  I highly recommend that you look at his coloring, because the depth that it adds to the forms is amazing.  The bowl in the center is probably my favorite as the center shows the most delicious shading.  The third piece wouldn’t surprise you if you stumbled upon it in a thicket.  His work is varied and doesn’t stop with pleated structures so going through his site you’ll see commercial work, paper engineering, crumpling and more.

Goran is known for his fantasitical explorations of pleated structures.  His designs and curves come from the interacting of the pleat layers.  The way the layers interact are forcing curvature.  Different pleat orders create different curves.  His dense pleated structures are mathematical jems as well as artistic expressions.  There are an infinite number of pleating combinations and consequently an infinitely huge pleated playground.  Another difference between a lot of his works is the constraint of the edges, although this isn’t present in all it is present in most.

So in the prior post one of the main differences is the constraining of the edges.  The goal is not to have the whole form curve around itself. but imagine the curves are more akin to the modification of the pleats of Eric Gjerde’s Arabesque, especially for the silver piece.  ”Mother and Child” is most similar  to Jackson’s work in the method of curvature.  Constraining edges has drawbacks in nature the solid constrained edge wouldn’t be seen, but most problematic is the tension on the edges.  Short of elephant hide you are likely to rip paper with the tension.

His webite is http://www.organicorigami.com and is a great place to look at his wonderful explorations.

Exception to the rule of forced curvature

The thing I first did once I played with a bowl he taught was to pull it apart from the bottom, which to be honest is what I pretty much do to everything.

It can be done for space, as above, or aesthetic as below.

One of the cons of pleated structures is lost volume.  Deconstructing allows you to reclaim a certain amount of space that is traditionally lost in pleated structures/containers.  Of course like many things you are trading one pro for a con.  When not deconstructing structures they tend to be very strong and dense.  When you deconstruct the inside you end up with only one layer of paper and it is noticably less dense than the rest of the structure.

Another modification that I started playing with (and I’m glad Goran is playing with) is edge expansion.  This is where all the pleats along an edge are pulled apart, you can also think of inner creases as an edge and expand them.

These two pieces combines some deconstruction and edge expansion.

One of the pros to this action is the very organic nature that it imparts to a piece, but like before when pulling apart edges it affects other nearby pleats and does weaken the overall structure.  If rigidity is desired this technique is not ideal.

Probably one of my favorite modifications is the addition to traditional pleating identifiable centers that are done with initial flattened box pleating that is then shaped as desired.  It gives you more opportunities to create combined pieced.  A limitation is the creasing of the pleats and thickness becomes an issue the more complex the internal structure.

Future explorations involve pleating structures that arn’t 90 degree based like.  In other words types of radial pleating.  Another variant is only pleating certain quadrants of a piece of paper like outer corners and not doing the centers:  Con:  Doesn’t follow traditional pleat lines and is a pain in the bum.

I hope this helps anyone who likes to play with pleated structures and if not oh well.  It is a fascinating part of paper art that can give structures that are organic and beautiful and I am happy that people like Paul Jackson and Goran Konjevod are doing/have done such nifty things.

### Calluses and Curves

Been playing around with pleating.  Constraining pleats all in one direction than another by folding over.  This unlike my earlier silver work is really related to Paul Jackson’s pleating technique.  I hope to soon create a bunch of curved pieces and attach them to each other with fishing wire.  I hope to create an insanely organic sealife inspired piece.  I would work with one piece, but the problem is size the largest sheets of wyndstone become tiny when pleating and so you can work with a 4+ foot long piece of paper and end up with a finished piece that is less than a foot when curving.  This piece I called “Mother and Child.”

The piece that looks similar but is different in how pleats actually are spreading is different.  ”Seasick in Silver”

### Granada, Tessellations, and Other Stuff

What I played with during siesta time in Granada.

GRANADA, the ALHAMBRA, and LACK OF LUGGAGE/CAMERA FAILURE/SICKNESS

### Instructable: Easter Egg Box

Made an instructable for one of the containers

http://www.instructables.com/id/Easter-Egg-or-Candy-container-computer-aided-orig/

### Computer Aided Origami-Candy Boxes

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.