Origami Kit For Dummies E-Book

Nick Robinson

• Herausgeber: John Wiley & Sons
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2011

Seitenzahl: 188

Beschreibung

Origami Kit For Dummies gives you all the material you need to get started in origami. Included in the kit is an expert guide book to origami, covering the different bases and techniques you need to create a huge variety of models. Illustrations and detailed instructions show you how to make 75 unique models, such as a frog, a settee, fantastic geometric shapes and even a festive Santa! There are also 25 sheets of 5x5" origami paper in five fun colours. So get folding, and show off your creations in style! Discover How To: * Get prepared to start folding * Understand the international language of origami * Fold all the basic bases * Source your paper * Design creations and draw your own diagrams About the author Nick Robinson is a professional origami artist, and has been "folding paper" for 25 years. He has been a member of the British Origami Society for over 20 years, and currently he edits their magazine, as well as maintaining their website.

Leseprobe

Origami Kit For Dummies®

by Nick Robinson

Origami Kit For Dummies®

Published by John Wiley & Sons, Ltd The Atrium Southern Gate Chichester West Sussex PO19 8SQ England

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Published by John Wiley & Sons, Ltd, Chichester, West Sussex

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The origami models in this book are reproduced by kind permission of: Anita Barbour (Dragonfly), Boaz Shuval (Butterfly), Dave Brill (Pentagonal Star), David Lister (Four Thirsty Birds), David Petty (60 Degree Star), Doris Lauinger (Giftbag), Edwin Corrie (Biscuit Packet Closure, Emblem), Eric Joisel (Dragon), Eric Kenneway (Hearts, reproduced by permission of the British Origami Society), Gay Merrill Gross (Vase), Grzegorz Bubniak (Beetle), Guspath Go (Mouse), Jeff Beynon (Twist Decoration), John Montroll (Chair), Kunihiko Kasahara (Chick), Luis Fernandez Perez (Perro Liberando), Makoto Yamaguchi (Makotokoma), Mark Kirschenbaum (Pureland Person), Martin Wall (Boat), Max Hulme (Aladdin), Michael LaFosse (Sailboat Envelope), Michel Grand (A Fishy Tale, Face Envelope), Mike Dilkes (Miniphant), Nick Robinson (Ali’s Dish, Bookmark, Container, Droodle, Duck, Dummyman, Dunce’s Cap, Elephant’s Head, Fish sequence, Flood Bowl, Fox Head, Gomez Bowl, Hexahedron, Japanese Schoolgirl, Jaws Fin, Lazy Winston, Little Nicky, Modular Star, Mystery Fold, Shining Heart, Triplane), Paul Jackson (3 Crease Head), Peter Borcherds (Tulip Bowl), Sylvia Shen (4 Compartment Box), Rachel Katz (3D Star), Robert Lang (Snail), Robert Neale (Lovebirds), Robin Glynn (Dracula), Rocky Jardes (Fluted Module), Roman Diaz (Chinese Frog), Stephen Casey (Goldfish, Shell), Ted Norminton (Santa), Thoki Yenn (Butterfly, reproduced by permission of Thomas Søndergaard on behalf of Thoki Yenn), Tony O’Hare (Hen), Wayne Brown (Envelope, House, Foxes Head), Yoshihide Momotani (Twist Flower).

British Library Cataloguing in Publication Data: A catalogue record for this book is available from the British Library

ISBN: 978-0-470-75857-1

Printed and bound in Great Britain by Clays Ltd

10 9 8 7 6 5 4 3 2

About the Author

Nick Robinson has been folding paper since the early 1980s and has been a member of the British Origami Society (BOS) for over 25 years. He served on the BOS council for over 20 years, edited their bimonthly magazine for 5 years, and still maintains their website. In 2004 he was awarded the Sidney French medal — the highest award the society can offer — in recognition of his outstanding contribution to origami. Nick spent many years as a professional origami teacher, travelling around schools, libraries, youth clubs, hospitals, and art galleries, teaching origami and paper artwork. He ran sessions with people of all ages and physical abilities.

Nick has appeared on television and has fulfilled numerous commissions for magazines, television, and Internet advertising campaigns. Over 200 of his original origami creations have been published in 13 countries around the world, including a Japanese newspaper. He has submitted work to many prestigious exhibitions around the world. In 1994, Nick won three of the five categories for the International Alice in Wonderland Origami competition. He has been invited as a special guest to origami conventions in Switzerland, Germany, Italy, France, Austria, America, and Japan. Nick has written and illustrated 25 origami books, with total worldwide sales of several million. His origami website is www.origami.me.uk.

Nick is in his very early 50s with a BA honours degree in communication studies. He lives in Sheffield, England, with his wife Alison, grown-up children Daisy and Nick, plus cats Gomez and Matilda. As a former professional musician he still performs solo improvised ambient guitar concerts. His music website is www.looping.me.uk. When not folding paper or making music, Nick likes to watch tadpoles in his garden pond, cycle in the countryside, eat curries, make awful puns, take photographs, and generally embarrass his children.

Author’s Acknowledgements

This book is dedicated to my beautiful Alison, Daisy, and Nick Jnr (arguably taller than his dad now). Also to our cats Matilda and Gomez, who is 21 years old and looking every day of his age.

Special thanks to the origami designers whose models appear in this book, for their generosity in allowing me to publish their work and for offering advice and ideas.

More general thanks to Wayne Brown for friendship, proof-reading, and most importantly telling me when I’m being an arse. Origami-l and BOSmail mailing lists for ideas and feedback. Florence Temko, Robert Lang, Edwin Corrie, Eric Joisel, Dave Venables, and Dave Brill for feedback, support, and assistance. Joan Homewood, Penny Groom, Mick Guy, and Ann Lavin for spiritual support during a recent illness. Bev, Steve, John, Rich, Chris, and Dave, my fellow band- members, for helping me to make beautiful(?) music. Roger Price for the wonderful world of droodles; The Dilshad and Shimul Indian restaurants for me spicy wittals. All at Cherry Red Records. Matt and Folding Australia for vital information about bricks. Dennis Walker for proofing, songs, and humour. Thea and Darren, the ‘other’ Sheffield folders. All at Charnock Health Centre, Sheffield. OUSA for the invite; sorry I couldn’t make it! My other origami friends are entirely too numerous to mention, but you know who you are and I thank you!

If I’ve forgotten anyone (and I generally do), sincere apologies.

On the For Dummies side, thanks to Rachael, Wejdan, and Sarah at Wiley.

His work is unbelievable!

— Eric Joisel

I can think of nobody better qualified to write this book.

— Robert Lang

Publisher’s Acknowledgements

We’re proud of this book; please send us your comments through our Dummies online registration form located at www.dummies.com/register/.

Some of the people who helped bring this book to market include the following:

Acquisitions, Editorial, and Media Development

Development Editor: Rachael Chilvers

Content Editor: Nicole Burnett

Proofreader: Kim Vernon

Technical Editor: Holly Myers

Commissioning Editor: Wejdan Ismail

Publisher: Jason Dunne

Executive Project Editor: Daniel Mersey

Cover Photos: „ Jeffrey Coolidge/ GettyImages

Cartoons: Rich Tennant (www.the5thwave.com)

Composition Services

Project Coordinators: Erin Smith, Lynsey Stanford

Layout and Graphics: Reuben Davis, Brooke Graczyk, Melissa K. Jester, Laura Pence

Proofreaders: Laura Albert, David Faust

Indexer: Ty Koontz

Publishing and Editorial for Consumer Dummies

Diane Graves Steele, Vice President and Publisher, Consumer Dummies

Kristin Ferguson-Wagstaffe, Product Development Director, Consumer Dummies

Ensley Eikenburg, Associate Publisher, Travel

Kelly Regan, Editorial Director, Travel

Publishing for Technology Dummies

Andy Cummings, Vice President and Publisher, Dummies Technology/General User

Composition Services

Gerry Fahey, Vice President of Production Services

Debbie Stailey, Director of Composition Services

Contents

Title

Introduction

About This Book

Conventions Used in This Book

Foolish Assumptions

How This Book Is Organised

Icons Used in This Book

Where to Go from Here

Part I : Coming to the Crease: Basic Techniques

Chapter 1: Getting Started in Origami

Folding Here, There, and (Nearly) Everywhere

What to Fold With

Knowing Your Symbols

Chapter 2: Drawing Diagrams and Getting Creative

Drawing Diagrams

Exploring Different Ways to Create New Origami Models

Understanding Origami Ethics

Part II : Folding On: The Models

Chapter 3: Making Bases and Dividing the Paper

Kite Base

Waterbomb Base

Preliminary Base

The Blintz Base

Fish Base

Bird Base

Multiform or Windmill Base

Frog Base

Getting Mathematical with Long Division

Chapter 4: Starting Simple

Black Sheep Down a Mine

A Sheep During Winter

The Horizon

Slightly Seasick

Sailboat

Flower

T-Rex Head

Bookmark

3D Star

Coin Trick

Japanese Schoolgirl

Three Crease Head

Dunce’s Cap

Miniphant

Elephant’s Head

Shell

Thoki’s Butterfly

Boaz’s Butterfly

Triplane

Chick

Fishy Sequence

Fish

Biscuit Packet Closure

A Fishy Tale

Fox’s Head

Envelope

Ali’s Dish 2

Pureland Figure

Sailboat Envelope

Dracula

Lazy Winston

Hen

Chapter 5: Making Moderately Tricky Models

Chair

Jaws Fin

Boat

Container

Face Envelope

Bluebell

Shining Heart

Tulip Bowl

Little Nicky

Makotokoma (Spinning Top)

Flapping Bird

Droodle

Vase

Hearts

Lazy Susan

Four Thirsty Birds

Lovebirds

Dragonfly

Snail

For Dummies Man

Mystery Object Solution

Chapter 6: Puzzling Over Geometric Models

Modular Star

Hexahedron

Emblem

60-Degree Star

Gomez Bowl

Pentagonal Star

Fluted Module

House

Chapter 7: Facing the Challenging Models

Chinese Frog

Dragon

Twist Flower

Twist Decoration

Four-Compartment Box

Perro Liberando

Santa

Aladdin

Beetle

Mouse

Part III : The Part of Tens

Chapter 8: Ten Top Tips

Ten Folding Tips

Another Ten Tips

Ten Things to Try If You Get Stuck

Chapter 9: Ten Styles of Origami

Abstract

Crumpled

Modular

Practical

Pureland

Realistic

Tessellations

Ultimate Realism

Virtual Origami

Wet Folding

Chapter 10: Ten Incredible Folders

David Brill

Tomoko Fuse

Paul Jackson

Eric Joisel

Robert Lang

Michael LaFosse

Robert Neale

Philip Shen

Herman Van Goubergen

Akira Yoshizawa

: Further Reading

Introduction

I ’ve been learning and loving origami for nearly 30 years. What got me started? Buried deep within me was a desire to learn a creative art. I tried basket-weaving, macramé, and painting, but found no real empathy with those subjects. When I borrowed my first origami book from the library, I quickly realised I’d found what I was looking for. A perfect marriage of art and technique, origami enables you to turn innocent sheets of paper into little gems that you can give to other people, brightening up both your lives.

The joy of origami, the art of paper-folding, lies partly in an innate human need to fiddle with paper. You get a bus ticket and can’t leave it alone. You fold it in half, form a tube, make pleats – it seems impossible not to. Fiddling about with paper is also a way of magically transforming an everyday material into a living, breathing creation. People are always amazed at the possibilities of the humble sheet of paper when you use it for origami. You don’t need to be a genius or artist to make or design origami models, nor do you need an endless supply of patience. As you’ll see in this book, you can make a recognisable origami model in a few seconds.

To a convert, origami is more than just folding paper – it’s an expression of fundamental human values: creativity, curiosity, emotion, communication, and above all, fun!

About This Book

The possible origami creations are endless, from flowers to birds, from cars to cuckoo clocks, from dung-beetles to elephants. For this book I’ve selected designs from a wide variety of subject areas and ordered them according to complexity. Where appropriate, I try to explain the thinking behind some of the steps, as well as the way in which origami diagrams and symbols are used to explain a three-dimensional move in what is a necessarily flat drawing. I also inject the odd note of humour; partly to avoid the accusation that origami books have to be dry, but mainly because that’s the kind of guy I am and it’s far too late to change.

Throughout this book, I encourage you to be creative and to experiment with the models; changing angles, distances, and so on to see what you can discover. Just because the model is called a goldfish doesn’t mean you can’t adapt it to become a herring or a whale. You may feel that a particular model can be improved by a few shaping moves at the end, and this is as it should be – go ahead and make your moves! The world needs new creative folders! However, even if you feel you don’t have a creative bone in your body, simply following the instructions will make everyone else think you’re very talented, so don’t debate the point, just show them the model and bask in the praise.

Conventions Used in This Book

To make this book even easier to use I use a few conventions. The action parts of the numbered steps are in bold and the numbers correspond to the numbers in the accompanying illustrations. (Well, it would be a bit confusing if they didn’t.) Web and email addresses are in monofont.

Most origami models are created by real live human beings and I credit them whenever appropriate. Doing so is polite, legally advisable, and it’s good to associate the model with the creator’s name.

Origami instruction symbols can have subtle differences. I explain the symbols I use in Chapter 1, and use them consistently throughout the book. I also include them on the cheat sheet so you can refer to them quickly and easily.

You can fold everything in this book from a standard 15-centimetre-square piece of paper (but feel free to go larger or smaller as you like). However, for the more challenging designs in Chapters 6 and 7, you may want to double this size until you’re confident with the model.

What to call someone who practises origami? The terms ‘origamist’, ‘paper-folder’, ‘paper-artist’, ‘origamian’, and ‘plieur de papier’ are all in use, but I prefer the first, because it’s not too posh, and has right air of implied competence about it.

Foolish Assumptions

In writing this book I couldn’t help but make a few assumptions about you, dear reader. I assume that:

You want to get to grips with the fundamentals (and more) of origami.

You have no previous knowledge of origami and want me to take you step-by-step through all the techniques and terms you’ll need to become a fully-qualified paper-folder.

You may have already dipped your toe into papery water and want to discover more models to fully immerse yourself in.

Put simply, this book is for anyone remotely interested in the endless possibilities and enjoyment of origami.

How This Book Is Organised

This book is divided into three parts; the need-to-know stuff, the models, and the fun tips and information at the end.

Part I: Coming to the Crease: Basic Techniques

In this part I introduce you to the essential techniques and symbols you need to start folding.

I explain how to create your own models and make your own origami instructions, which can actually help you to become a better folder. In addition, you can share your efforts with the rest of the origami world and be a contributor rather than just a user. I describe a variety of techniques ranging from very low to hi-tech. I also explore origami ethics. Intrigued? It’s all in Chapter 2!

Part II: Folding On: The Models

This part is where you’ll find 75 models to create, ranging from designs that use the simplest of techniques through to those with many separate steps. From simple and moderate models you move on to geometric and challenging designs. Don’t panic – you don’t need to understand any mathematics in order to complete the geometric models. Maths isn’t one of my strong points!

Also in this part, you’ll meet some origami bases, straightforward folding sequences common to many designs. I use simple designs within the information about bases to demonstrate the techniques.

Part III: The Part of Tens

In this set of small but perfectly formed chapters you’ll find a series of origami nuggets to enhance your enjoyment and skill. Discover my top ten folders, check out top tips to try, and experiment with ten different styles of origami.

Icons Used in This Book

Scattered throughout the book are icons to help you navigate to certain key bits of information.

The folded paper knot draws your attention to a key point about origami to bear in mind.

This icon highlights a spot where a little more concentration or subtlety is required to make a really job of a model. As well as using in within the written instructions, I also use it occasionally within the figures.

Ouch! Avoid these potential origami pitfalls.

The target arrow highlights a particularly useful piece of advice.

Where to Go from Here

You can dip in and out of the book as you like, but I recommend that you follow the traditional route from easier models to more difficult to build up your experience. Success with a simple design encourages you when you come to the more challenging models in the book. If you want to find a particular model or technique you can use the table of contents and the index in the back of this book.

Origami has never been a super trendy activity, and you may need to develop a forgiving attitude in case your friends scoff at your hobby, but once you’ve mastered a few simple designs, they’ll sit back in amazement and you’ll become everyone’s best friend. Well, perhaps.

Part I

Coming to the Crease: Basic Techniques

In this part . . .

Welcome to Part I, where I initiate you into the marvellous and mysterious techniques and symbols you need to start folding and making models.

In this part you’ll also discover how to create your own models and write your own origami instructions.

Chapter 1

Getting Started in Origami

In This Chapter

Finding folding materials

Discovering origami symbols

M aking an origami design, whether simple or complex, generally requires concentration and accurate folding. In order to achieve these desirable aims, you need to create the proper environment in which to fold, as well as observing a few basic guidelines about how to fold. This chapter explores the things to think about before you get stuck in to the origami models – the materials and tools you need (sometimes more than paper and hands are useful!). This chapter also introduces you to the symbols that show you what folds and creases to make, not to mention how to tell when you need to rotate the paper and apply pressure.

The following tips assume you’re improving your folding skills by working on new material – clearly, after you’ve learned a design you can (and will) fold it anywhere!

Origami through the ages

As with many ancient arts, historians don’t know for certain when origami began. Paper was invented during the second century AD in China, so it’s likely that’s where the art of folding paper first started. Japan began to produce paper a little later and origami as we know it was developed in Japan. Used initially for ceremonial events, recreational origami grew slowly until about 150 years ago when things really took off.

The principles of creative origami were developed by Japanese masters such as Akira Yoshizawa and Kosho Uchiyama and during the 1950s, and by Westerners Robert Harbin, Gershon Legman, and Sam Randlett. They set in place the method of diagramming used today and made huge efforts to forge links between previously isolated folders in order to develop a proper community of origamists.

Folding Here, There, and (Nearly) Everywhere

So where and when should you fold? When to make an origami model depends on your individual circumstances, but it’s generally not a good idea to tackle a new project at 3 o’clock in the morning after a 12-hour shift. Try to find a gap in your schedule where you can devote at least half an hour to folding without having to take breaks to wash the dishes or stroke the cat.

Consider where you’re going to fold. Ideally you want a large flat table with plenty of elbow-room, somewhere to spread out the instructions or book, and good lighting. Don’t forget to have a waste-paper basket handy in case your first efforts get a bit mangled, and keep on hand some stress-relieving devices such as hot drinks or chocolate. Just don’t keep food or drink too near your paper!

You may have seen folders holding the paper in the air and making all the creases without resting on anything. These individuals are very experienced in origami and fold in this way so that others can see what they’re doing. In general though, it’s best to fold on a flat surface, such as a table because neat, accurate creasing is a lot easier to achieve on a table.

Amazing origami facts

Here’s a list of things you never knew about origami – save these gems for dropping into conversation at elegant dinner parties.

The word origami has only been in use in the English language for 50 years.

You can fold a piece of paper in half more than seven times.

You can solve quadratic and cubic equations by folding paper.

The oldest known origami book, Hiden Senbazuru Orikata