(Ne eS) i plieac Aven | AISBN 09757463048 Folding Australia 2005, Australian Origami Convention Book Publisher: AIRSTRIP ‘Now Media - Origami - Publications publishtairsfip.comau hpevwnaisteip.com.au [Act Director & Designer: My Tinh Ha Ipwwcecteblosson.com Editor: Matt Gaines Layout My inh Ha, Matt Gardiner tke Hopkin Diagrams: by contributing ats Photography: My Tinh Ha, Max Garinr, Mike Hopkins _ Sov photograph: Na Gardner ‘© Aiestip and contributing ats, Al Rights Reserved. No part of this book may be reproduced in any form or by any means, clecttonie or mechanical, including. photocopying, recording, ‘ory any information storage rtrieva sytem, without permission in writing from the publisher. sai / {FOREWORD oz Welcome to Folding Australia, ‘There is always something special about the first time for everything. ‘One's frst steps, frst bicycle, first date, oF first job remain indelibly etched into memory to be cherished forever. It goes without saying that your attendance at the frst gand-scale origami convention on the Australian continent and the expesiences yout have will (ie alongside those other ‘treasured memories in the years to come. ‘One has only to look back over the last 40 years of origami history at the consequences of embarking on an annual convention to see they can generate signticantnumbers of new adherents to the artform. As an attendee to Folding Austalia you play a role in building this momentum, you are a pioneer of a new age for Origami in the Southern Hemisphere, Ten years from now when we listen to a new generation of paper folders relate their first experiences of attending such @ gathering it will be apparent that FA 2005 was the spark that started the fire. T have led a charmed Origami life. Over a 25 year span | have had the ‘opportunity to attend international gatherings of origami artists in the USA, Britain, Japan, France, and Italy. Through these events ve had the chance to meet many of the accomplished artists in our field as well as ‘those lesser known but nonetheless ardent devotees tothe intricacies of paper folding. No matter how important or unimportant each attendee they all had one thing in common. Over and above our mutual interest of, manipulating paper, was a genuine desire in sharing their accumulated knowledge. Traditionally Origami was given as a gift, this feature of sharing seems to have remained with it through the manifestations it has undergone over recent decades and attribute much of this growth to the spirit of sharing, | know this trait has heavily influenced my own actions, for | have learned that the more one gives the more Origami seems to give back. Through this phenomena | was motivated to start my own event to promate and share origami on a grand scale and leamed first hhand of the desire and hunger of peaple from all walks of lif for further knowledge and understanding of Origami. FA encourages you to share ‘Origami whenever and wherever you can, Ital Organ coments ad salsa ao ade me enre pf another major aspect critical to their success; that is the willin ra of individuals to give oftheir time to organize and adrienne Batherings. They are people who volunteer to stop folding and devote fie energy to planning andl executing the myriad! of details it akes to make a rational convention happen. Because of them and their dedication you are able to enjoy the unique event that is Folding Austra fa. When os section bes tank hem fr ther gree coe en inate) make it happen. Offer to help; whether i is assisting with the bog tint epera,thig lic or ose as dedicated volunteers are easily identifiable; apart from detk tin 5 unc their eyes, cell phones or walkie talkies attached to their ears, th he 2 and many thers. Give them a shoulder massage melanie gen break, a clean shirt, a song of praise, they make it happen! — Now movecon, its time to turn this page and check outthe feast of diagrams ns Publication (ancther fst, contains. Crack that pack o° Kami you've wen Keeping warm, find some other folding fools and get those fingers ‘ereasing. Its time to fold Australia, ° Enjoy, Jonathan Baxter, April 2005 003Minage © My in Ha 2005 CONTENTS 6 10 14 15 DIAGRAMS 18 2 102 104 106 112 114 138 144, 143 Origami House Origami House Preparation Siatisties Origami House Time lapse Brick Lounge Chair skunk Conical Squid Conical Penguin FlowerTower 12-Fold Rosettes Whit Spools Tea Pot Tea Cup Laptop Twist Box Swiss Army Knife Two Colour Bird Paper Holder Flowering Dogwood House Box Dress Shirt Horned Turban Flat ron Blackmoor Sushi Serving Tray Tea Bag Folding Thanks and Credits Mate Gardner Mike Hoptins Steven Casey Steven Casey Steven Casey Jun Maekawa Jun Maekawa Chris Patener Chris Palmer Chris Palmer Sy Chen Sy-Chen Darren Scott Darren Scot Gaveth Louis Gareth Louis Gareth Louis Makoto Yamaguchi Makoto Yamaguchi Makoto Yamaguchi Makoto Yareguchit Satoshi Kamiva Brenda Saunders Ronald Koh Matt Gardiner Clare Chamberlain 05Origami House What began as a whimsical idea remarked by Darren Scott was eventually taken up as a project and brought into reality by director Matt Gardiner, the Latrobe Regional Gallery, Australian Paper, 2 team of designers, folders and paper engineers ‘Origami House is the largest house in the world created with folded paper, It required the folding of over 1 square kilometre of paper, some 15,000 folds and at least 8 weekends of solid labour by a devoted team, and 5 leng. days to install 41 start with 251 shew 30. slotting bricks together is easy. Mom Seven Casey’ ari Novigam’ House Miniature Promotional Mode] Design Origami House is built on the foundation of a stroke. of briliant but simple origami design by Steven Casey. The Bricks a modular model folded from a2 x 1 sheet of paper thatinterlocks ikea normal brickand thas a high strength to weight ratio We measured one brick holding 6 kg of water without showing signs of buckling, The brick is folded from 2:1 rectangle, and creates a 2:1 rectangular face on the brick. The brick is ingenious in that it has a slit in the middle of the top slot, allowing the brick to be slotted and laid in a normal house brick fashion, a f N ORIGAMI HOUSE by matt Gardiner Architecture The architecture of Origami House was purposely designed to reflect a Chiliee image of 2 house, the traditional rectangle and tangle for a single ‘main reason: Origami House should be easy to build. The 45° pitch of the raof was the simplest solution, asthe bricks could easily he folded to match the pitch at the peaks of the walls. The positioning of the windows allows natural and gallery lighting in, and the doorsways are open to allow visitors to walk through to see the variety of housefold objects inside, twas intended that the viewer walk through and around Origami House, o experience the detail and scale ofthe house, to allow them to reflect upon how it was made, to tempt them to test the walls strength, and admire the details indoors. Play and fold The entire project evoked a sense of play in every member of the ‘group. The project served as a conduit for bringing childhood ideas into an adult playground, as often origami does. Contemporary origami that is complex could not be achieved by a child, as the fine motor skills, patience and experience levels required place complex origami outside a chile’s skilket, However, simple origami is coften taught to children in schools and as such origami has developed the stigma of being a childhood pastime. Origami House both enforces the old stigma and breaks free from it. Embracing the duality of the art of batt childhood and adulthood simultaneously. Adults paying, building corigamni Houses, allowing children to experience origami howse like adutts, siting them to imagine themselves creating works ike Origemi House. On approach to Origami House you are overwhelmed by its shee size, and one Ni ine apse of rick Folding oorBA | HOUSE by Matt Gardiner @ nS N ORIGAMI by Matt y does not conceive that it was made by children, it shows systematic thought, engineering and a high leel of desig. But the lingering afterthought is that itis a childlike vision, and that it must have truly been a lot of fun to make - and itwast Lintels Steven and Matt spent an entire ‘evening designing the lintels forthe house. Along the way they coined 2 new origami term; ‘Lintl fold’: A convoluted method for realising a stubbom vision. The resultofa lintel fold is so amazingly simple, perfect, ‘and only visible in hindsight. The lintel had strict design guidelines, and at each resolved stage of the model, they discovered a small ppart that did't meet the guidelines, and so spent the entire evening to refine the model to the next stage, going through some extraordinarily complex folding sequences. steven & Matt installing the last lintel for Origami House, Process of creation ‘The main priority for the project was folding the 364 bricks from2x Im paper 25 supplied by Australian Paper. The group met for 8 consecutive weekends to fold both a smaller scale model for promotional photographs and the real scale models or Origami House. Itshowed extreme devotion and dedication from everyone who showed up to fold bricks an be a part ofthis project. SM ORIGAMI HOUSE by matt Gardiner Abs Sincere thanks to: Local folders: ‘Matt Gardiner, My Trinh Ha, Steven Casey, Martin Liu, Darren Scott, Brenda Saunders, Gareth Louis, Mike Hopkins, Judy Hopkins, Charmaine Cruise, ‘Anna Fang, Chung Leong Li, Joseph Clarke, Dan Winte, Emily Wright, James & Katrine, Madeleine Beatty, Sarah Toohey, Rosemary lacono, Edward Burger, Brett & Greg Sacks, ade Enge, Wanda Gillespie, Manel Viesai, Cathy Farry, Shaun Gardiner, Paul Gardiner, and Deb Taylor. Special thanks to Tareyn Deeble from Buro Architects for her sound architectural advice. International contributors: Jonathan Baxer (New Zealand), June Sakamoto (New Jersey, USA), Kay Eng (New York, USA), Ching-Yu Hung (Texas, USA), Dorothy Engleman (USA). Latrobe Regional Gallery staff: Louise Tegart, Sherryn Vardy, Cliff Wandin (huge thanks to Cif for assistance, patience, hard work, and advice during installation), Anthea, Johanna, Linda, and Sarah. School children: Boolaiia Primary School — grades 5 & 6 Sacred Heart Primary School - grades 3 & 4 Rosedale Primary School = grades 5 & 6 Kurnai College Churchill - year 7 Family & iriends: {t's very important to mention the family and friends ofall participating, as they endured the lonely nights while we worked away, and they supported {morally and encouragingly, and we thank them for allowing us to follow ‘our dreams. 009: NORIGAMI HOUSE 2005 WGons STATISTIC Origami House is the result of many hours of labour and love from the Melbourne Origami Group. Several wonder‘ulintemational contributors also contributed their time ard effort to furnish the house with some exquisitely folded models. With a project as large as this, reflecting upon what actually ‘went into its creation reveals some insightful facts and figures. Sometimes the numbers we come up with are almost unbelievable, yet when put into perspective are truly awe-inspiring - you simply clon’t realise a lot things even as they're happening, To that end, | have compiled some statistics hoth interesting and trivial about the Origami House exhibition. Though some of my calculations may not be entiely foolproof, what follows is a look into some of the numbers behind the exhi + Bricks constructed: 366 doubles, 29 singles. The roof is made of 3 segments. + Sheets of paner in the bicks andl roof: 398 (820.27 m length x 1.0 m wick) + Cuts to get brick paper to size: 394 ( actual paper cuts with bleeding) * Folds in the bricks and roof: 10,533 (An average of 457 folds per brick maker) + Folding hands forthe house and contents: 58 (With 6 additional contributors) + Man fours to complete fhe exhibition: In excess of 2,000 + Tshirts produced forthe convention: 160 + Flyers produced for the convention: 15,000 (Sent locally and intemationaly) «+ Prototype models: 19 (cluding bricks and furniture) ‘+ Models in the house (Grouped by arrangement): 20 + Cups of enfiee: In excess of 430 (with varying combinations of mill and sugar) + Aching muscles: Too numerous ta put an exact figure on ‘+ Months of planning: 8 + | final exhibition Numbers can tell us a otf things... but thataside, it's the memories we have that are the most important. Unfortunately there isn't really any number for Cour thing, s0 instead (4 like to say thank you to everyone who cantributed to make the exhibition a success, no matter how small, | look forward to seeing you all again at our next origami convention! 015se es a MORIGAML HOUSE TIME LAPSE ( SM ORIGAMI HOUSE TIME Lap: a SSN BRICK by steven Casey | reemcoey | Lh - ] This crigami brick is designed for builng origami : houses. The bricks fit together like a house brick i> and form strong walls, Start with 22:1 sheet of a st.ong.2x 1 m paper fora large brick. 7. Fol player only 8 7 ii pr ee es Loy LL “en ! C1hi ANE 4 Start with 2.x 1 shoot fod in hal 2.. Fold top 9. 10, layer ony 3. Mate a 4. 11. Fold botom edge to 12 small pinch croaze intercon, 5. Note thirds division, 6. 12. Unlotd, f 14 Unfold. ors o19(3 FETE) J 15. Vale fod and then ni me 17 Squash fol. 18. Like 50, tum over. i rr EE Cor Coe It 24. Fold papain on csi cree 0 22. Fold down on existing crease BEE 23. Fold up on existing crease. 24, Fold in comers 25. Reverse fold poiat only ET. View trom bottom of brick, slide together, a goes under c, bb goes over c. 25. slotting bricks togethers easy. 26. Vale fold in exiting crease ofr the brick shape, 28. A finished brick 30. Repeat steps 1-30 about 1350 times to build your own rouse desig. otMLOUNC N LOUNGE CHAIR by Steven Casey a ] ch pede hall wy Make a smal crease nea 7. Ada horizon creases at each of 1, Pinch top edge hal way, 2. Meo taneboas pee thepinch make = T f \ | = | ! 1 I ats [PSI | \ \ \ | _| L | Et 3. the point where the tote 4 tol tie left se tn halt, v Sarma moves 1/3, Place then unfold. 9. Fold top and bottom edges behing. 10. Uniold the edges $ Neal erase at that po 71 nee = Vee al = 4+ | | r | 1 * | 1 . 4 4 1 fro ‘ Jape ep a 1 | 1 —— = | ¥ 5. Divide remaining columes in hl 6. Pinch diagonal ceases, 114. Mountain halfway between the—~ 12. Unfold edge top edge andthe previous cea, = on “ = osQA. LN LOUNGE CHAIR by steven Casey a ei 13. Fold botom edge st 90 dees 14, Fold the back section down 180 Wy vo square Uni degrees, Fold the tran section ae down at 90 degreess. 16. ox sal tangle las, atthe inward ain ange atlone 15, 30 reverse fel front comers labelled "A" ane" forward to ‘enclose the sides ofthe chat, I> ar ‘gene 18. Mountain fold the entire edye under using the crease fom stp te 17. Teckthe smal tangles under the pleats of the chair. = Fold enive ledge under 19. sdourain again oa stron tothebme di theca, Use ising cease fom sep 8 21. Fold the side comers under so they oan a parallel edge with the inside ee fhe chat Repeat ‘onthe lel side. 20. Mouniain the back and the sides as indicate. There is no exact landmark. 22. ea ishing some ‘orcas ae sa iShesmant teat Bachar Cana ‘Sapte 205 stn Casey ‘figs ou osSISKUNK by steven Casey PR 4. negin wth whit side {ecg up. olen tino deagonal 2. Horizontal pinch hall way. 3. Fold bottom exge up to allway crease 5. Uniold 6. Fold top comer down to intersetion point = 9 Reve ul 10. tous uve. 11. Fold aw edges into the dagonsl crease. 12. Fold wiangle bohin. oros (@Qx P MSKUNK ty steven Casey MI SKUNK by Seven Casey | AER) | ‘ 17. preieobe egos 18. open cutto square. dhe ar owe edge nya and form a rabbit ear on one 09QA. _N SKUNK by steven Casey SKUNK by steven Casey | PPR AGS 22. cota sing ensing creases. 23. open sink the wp. 24, petal for AVE 6folders 30. sw AP S A\ . @ ; beQA _NSKUNK ty steven casey MN SKUNK by Steven Casey | ABB) 034 35. valley single a overtothelel Oe eePQ EN SKUNK by Steven Casey M SKUNK by Steven Casey | LER AG. See detail sections 51. Pull out trapped layer 50. valley, then rabbit ear. 52. rrecreaw angle scot ‘53. Unfold tip and slide trapped pete se Eos ‘57. Fold the next layer over totheright 58, Mirror steps 55 to 56.SKUNK oy steven Casey | IYHX | N.SKUNK by steven Casey MI SKUNK by steven Casey 67. Curve the top of the model behind. ‘Ave same tte form the crip that efine the back legs. Tas ges the ‘moda vee dimensional shape, 68. Double revere ld ection id od enelaping ayers under tSrnarow back legs anf under ely 69. cei and shape al. Rabbit ear ack legs to form fet. imp font eg orn feet. 70. Open out eas if you like, Complete.N CONICAL SQUID by jun Mastama 1995) | FE12 EQ _S CONICAL SQUID by un Mkaw 1095 45 degrees N CONICAL SQUID by jun Mackawa (1995) | 21 Push centre. (See Figure 22) ae Mountain fold Fold an inside flap and pull cout fins. Shape of inside flap ony[_SCONICAL PENGUIN wor.) f\ {| aBn MN CONICAL PENGUIN (vers.3) by jun Maekawa (2005) CONICAL PENGUIN (vers.3) by jun Mackawa (2008) £ Ae 053a MN CONICAL PENGUIN (vers.3) by jun Maekawa (2005) NICONICAL PENGUIN (ves. by jun Maskawe /EFR > Pinch here Armcuntain fold) x shape of wiangle isosceles wiangle) 46 f 47 48 Design concept Aconical surface 15 degreesDi Ne aoa elas ecole FLOWER TOWER 12-FOLD (decreep method) OCK.P.2005SIROSETTES by Coie rimer | APPR 059ae N ROSETTES by Chris Palmer PANN EN ROSETTES by Chris Palmeron NWAHIRL SPOOLS by chisraimer AEP | yhistines | LEY WEE x x 7 XI a PGE Zs A CX J MOUNTAIN BOLD ¥ xX AN 9 MAES sy CB: KF a x j XK vag rX/| SG A bey > NY N\ Og x i “9 A sy ie = ve D “9 Gj N 9 AK BA ae Be \ A ‘ Ss x A 2 eS x, cL) X iV 2 [ A y 7 - ’ p KK I SZ \ 4 g I AX S, rf \ } vy By ye M4 as41. Start from square with iz. Inside colour up at 3, Make mountain ceases 4, as indicated = Pe 5 x N Pel ; S. eS ‘S, 5. Squash 8. Crna sink ata cir and partly ope the lower fap ‘This move Brings the dark valley line to meet horizontal mounain line 2. Saison 10. 30 view: Enorge Open to form 3D 111. Pinch along the comer of patil boxFX MI TEAPOT by sy Chen (2002) NITEAPOT by 5, Chen 2000) (GF 13. ering comer down to partly orm he tube top 12. Bring A & 8 together to le the box 15. Roll to fap together an the op {form i andl ine revese pot handle ad stick tip nie the Sito por comer Pit boom & the snout pen hsighly 14. inside reverse handle; Fold comer inside to cover the top ofthe pot VARIATIO | Better tockir the ronson Getanao 15. 16. Valley fold one flap Outside revere fold the other lap 17. Tuck into pocket of Tes 48. squash while keeping the tucked fap inside: This move locks to Flaps together 19. Curl tip to form small lid handle; 20. Finished slightly open the snout068 Designed! on 5/17/1998 and diagramed! on 4/2002 Created for Taste of China event in 1DC'98 to go with my Teapot model 15 em square makes a cup of § em in diameter. 1. Start rom square with cup colour 2. shine side facing down; Paper size used is taf th engh of sare paper sed in Teapot model 3. Enlarged Waterbom: base 4. enlarged; Squash all 4 flaps; 5. Ena: Crease alg tine 6. Unio tstgp 3 and um over 7. Start 3D fold; Make centre part 9, Round the edge to make the fold hold better 2, turn over 8. Mountain fold to hold the 3D position 10. Repeat steps 7 t0 9 for other 3 corners a) 12. Curt + comer ousward; You can use stick oF ool ta help,N LAPTOP by Darren Scott! AG ie aie I twa I I 1. Divide into thirds, (See Brick 2. Divide outside thirds in ha '8. Fold along the diagonal. tlagram for how io fol thirds) a T T T T 1 1 1 | \ \ i \ I \ \ \ i= | 4 fe 1 | | | 1 I | | 1 1, | 3. Divide outside sisths in halt. A. Divide outside tweliths in 9. Squash fold. 10, Mountain fla. 5. Fold op comers sin 6. Fold the top edge down welt as gue ae 14, Mountain fle 12. Repeat 11 on ghNTWISTBOX 47 Valley fod comers then Thai mre teeybont Valley fl top layers lon deere beter os Slog cetse made in Sep 13. | + Make pleas tor keyboard then foi var 18. Finiehed, 1. sta white side up and valle 2. Pinch valleys in eac side ibothdiogonate then unig. - ww T ie 4 Pm dl lg wm 3. Place creases as shown to 4, Fold edge to crease 1 5. valley all comers )+ Valley fold and uniol Sete 6. a nt nlGRA, _NTWISTBOX by Daren seo 8. Fold all comers to centre. Untold al but one 9. Fold flap to the cente edge. © - 11. Repeat 80 100 12. Tuck Nap down aon the reraning 3 sides, existing crease Man fi lp hidden. NTWISTBOX by Daren scot AEP + Test to make 3D, creating new ereses and pling ‘Conte square upurards 14, Finished1 white side Precrease, Note connecting comes. - Vall to intersecting 3. Precrease with televence tothe pinch mark 2. ich along a alia rae sep 4 7. Divide paper imo tight sections. 9. Precrease with 8. Vat fld two maura ok raw side, 43. Compressed mode Fromenming creases, tulip reverse told dow. Note Ths step Sstime consuming, remodel apie and telomn the ceases) 16. Siok. The region beneath ie teied sink. Repeat behind, 12. Fold over the coloured panels to cover the pleated area Compress and reform, Ina way, you are ‘making secordion pleats. 15. Wrapa la Coloured section. Be cal wie Widen section Repeat behind 12-16 18. Rovate 90°, Next ‘drawing Is are: 17. Repeat steps 12-16 belowM SWISS ARMY KNIFE by Gareth Louis (1996) 25. ere ae ee poins 26. Swing he sweched 27. swing ihe ere the stom. hn. pointback up iceag 19.mrecreawe and __-20.Caetaly holdin 24. Sweching in Sietch Bretop pant reves oid the ent te pins Sretch progress, Model a Front aa back them all ewe down soit ie it comer ‘wie opening yp te 4 ‘adel This will cause two rate points o appa ‘his ecaled an ele Stretch iter Mi Neal Eas) 28.tearview enlagemest. 29: eke anopen ink. 30, Open snkaain, “Thete ae five comers stcomer 2 Similar concept for Locate comers 2,3 and 4 itis vital that comer 4. and prctease heavily the sinks are open. ee Senge 4 28-31 ! | { | [EE] [eisaety| 22. close back. 23. Note there are now 24. From the third point Beste a on Seances sm eee Be atetm — estabue ese, ane Sree SA Soca That our reversefolds fe tep 31 Fold comer3 insoning 32. Rpeatstgps 28-31 33. Sproc the mod oon Sree tt chalets “Miemantis! 3 ann pean cenengned ‘sticker, model wil ie fat)BQ. _S SWISS ARMY KNIFE by carat Luis 396 N SWISS ARMY KNIFE ty Garin tout i950) 2 AO. tnlageren of 41. Precrease heavily, theknjchend: Other hoe hovethe crease 42. Valley fold align Pine deleted forclriy, _ouchoe comer of wih be eather Bots” theljerbema Grease 34. 35, 36. Locate the middle Ir val to enforce From side. locate the «ouiiaence on therein oihigpoine muse covet, Seed tencomp ——fortichingemeienizm en erimp te ap retap down. Weperatevel dln tote nares fedBldthe crimp back ——‘Souence ihe Sein previous tp mde coe woo smal to ewidh needed for ecim! 43. Mountain folda single 44. Valley fold cemaining 45. Competed Knit. fe Tae a Taye nid te kn itn iieelc tcgessi tie bite Ee 38. 39. AB Eni AT enlarger 48. Enlargement of Enlargement of Reverse fold Reinforce the creases | _Repeat stops 34-37 Enlargement ofthe screwdriver screwdriver formation comers Stthispointas instep 35, onthe lout seetion andl kia lrmation. formation. (Point X) {Poin X) Insc erimp ot. The erm coh be Made onary sSe clest {othe doamuances Refocthecimp hack on heise, then Foi) as in previous step. lose bat| NESWISS ARMY KNIFE by Gareth Louis (1996) a TRIB, | Se ewes N SWISS ARMY KNIFE by Gareth Louis (1996) im EI 49. Namow the shaft with Swine folds. The sve mate beneath should pot xerere with te hinge 52. swivel ne esis according to existing renee reversing the fefveorners. 55. mcrae hey. Nien thease {erate he cree 50. Unfold the pleats and Sie laf back See ‘53 sink all layers carefully. ae 56. Precrease. Note where the creases connect, D 51. crimp on the left side ext tothe nile cortuence (Dificuis 54. Reverse fold. 57 Reverse fold, 59. Reverse fold the top 60. completed iene Round the shat itdesred, 62. Enlargement ofcan 63. Swinga poin to gpeeromation Note thee Hee! wi Hretwo poms at ihe oi ie Flea indn carp above ir hinge means 61 agement can Speer formation, ‘Point 64. valley fold down, 65. Close hack toflaten 6. Eject hidden corner the mode 083Gu NI SWISS ARMY KNIEE by Gareth Louis (1996) 67. Precrease and = r\ Nd . Tiere tac T.vianainiolde | 72.curethe sige Maggedget "aera 084 73 Enlargement of 74. Pleat down. 75. Precrease and corkscrew formation. reverse fold tothe {Poin 2, centre Wateshom Base} SWISS ARMY KNIEE by Gareth Louis (1996), AB OO W 76 fo a apd 7B. sitagovettwa point above 77 wt car, unsink balanced propoction of foyers onthe other side 80. Mountain foldback 81 -Adjustposiion well 79 Repeat seps 75-79 ‘nd spend out pois Siiie tiningtiee panels lem the ge ‘ecg ween Sections become ticker, 84. Slide all the tools Tato the handle, 83. whole ew Revo inges by swinging each, atcha at 10". Do this for around 0 times exch side ro minions the, ‘echanism Roling the model sit pressure onthe coer). 82. completed coctscrew. 08sN SWISS ARMY KNIFE by Gareth Louis (1996) 85.atthis point, all te Stachmonts are ise Withall he atachments| the handle. Reverse comers of sloted inside the handle the handle. Repex behind 87..Open view with all the attachments Tels possible to sie all of them in and out. 2. Procrease the left site. 86 completed swis my Kile. «Valley fold tothe centre NOTES: [Noting the following ideas from similar Swiss Army knives from Jeremy Shaler and jun Mackawa, Thee is always an option to motya point to nother took Depending on the numer of pleats, it may be posible tg have tical on the handle. Mechanar tsbasel uted n Robot Lang’ folding Kf SE ae recreaee tothe conte ‘Mountain fod the ight side and rate 45° anti-clockirise, 6. eect nerto matte ‘oppose leterior we al {Gidngatapto the ekean NI TWO COLOUR BIRD by Gareth Louis (1999) 9D. Serre tan 10. re " Repeat eps 5-9 + Valley fold ap a onthe attr ie. seta? 13. valley fold flap to 14, Precrease. the conte, Note intersection, 17. swing over while make revere ld. 20. Valley both flaps torhecenve, Repest behine. 21. Valeytoldboh 22. Sidethe middle _—_-23. Revene ota tapsup. pont dour 24.-tefaping ind ral Waheynt Ractbia and gel rake in aps wing.‘MI PAPERHOLDER by Gareth Louis (2000) L988 i : i i ja | + TA i | i 1. Precreate no igh 2. valley fold othe cane 7. Valley uo. 8. swivel upward 3. Vale fo one unit 4. Vale. 9. Valley upwards 10. sjectsome mata symmetrically. 11 swivel back downwards 12. valley fold upwards. squash fat downwards, 090 il ] | 5. mrecrease 6. From existing creasesAX | N PAPERHOLDER by Gateth Louis (2000) 13. collapse by bringing fas tad de pesion 15, valley fold to the ede. 17. Mountain fold back. by 14. Front view. Release the trapped coloured layer 16. bing the white sides to surace. ‘hiss doneby sting he coloured aps inthe pockets 18. vate doe om, serning the back othe tee ‘s 19. Slot the flap into the pocket tolock the box N PAPERHOLDER by Garett Louis (2000) - 20. vatay overt hide the wae 21. Competed Papers that cam be Ceol sxe Sg pop and memo paper olOWE Pumeoaisc DEFESERS Paleo aise DaFESIE REDOIE abet HS cOBKeo Us Re iD BBTEEY weznen BREET DHT E SERS H0Be Bours 2HtHS meecse | RT 4 5B| M FLOWERING DOGWOOD by iakoto Yamaguchi EUSOA KE aeeReAT ABEND N HOUSE BOX »» Model and Disgrams by Makoto Yamaguchi ote Owe HS EONS SZUBLT HS gee bits iz ® | wesen jemi Su Dem ORE DOES @ REM OBIE SpwcihsS REHOME ad HOMES CHS ovEAN EN HOUSE BOX by Makoto Yamaguchi N HOUSE BOX by Makoto Yamaguchi AB RE LAST RETO RIC apecns mEAT~ 12 CE SERS RELAIS SCAT ire DHS 2) Hwee DHTHS oars @ nveoezone late] TESND eaD Be aT BENS ELELEO HBS BE EDEATLEO HDB CHS 099A Gp 0 aehte Om 3k HOUSE BOX by Makoto Yaraguchi DREbBIE U specks ADS REL HOUSE BOX ty Makoto Yamaguchi | [21] oweRRMO O-BECTE MIC SLAasMOMHICTS ROSALES BLA TORS102 sect WEES Omecams AReRwICHS NIDRESS by Makoto Yamaguchi ! AERO keane wee abecend ake seme HOAT DRERO erat,Sd Pra HOMES RQDETaNG DReAwERS ery) TEBAD (yey2) Caen M SHIRT by Makoto YamaguchiNAMED BeOS RebOKebe THE ABIES gem Soeur. Beroe Bbeche @ AREDRDASIENS sc DD SN HORNED TURBAN by Kamiya Setoshi ,# > ‘hen SaHD 12 ower 3 Busse souens Beme Bes. 10 AkemwcRS RANKONE AReRoNRD AL 107=F GRA |S HORNED TURBAN by Kamiya Sts HORNED TURBAN by Kamiya Satoshi MUASELT maa ee mtn a DEOL SEHS akestesscns 30 ez AEBREANS wemesnec Sonne DRenCoOnS, AREDLRS Bi memeapee : Bennbessene ; a J | arene akeentn ccetHe Dlasans aeeswowoscee Bese fe 108GRA. |S HORNED TURBAN by Kamiya Satoshi ee 34 33 = gemeanec gemeabee BENBLSESMS RSNDESEIENS gemeante Bennlsssine 38 eo 39 \ Beeeec< | 40 at Eames s o »>\ 0 AREREOEUT DEoESERS ; £2) DUAMDE Zee amc ay 43 R24 Pain tao 3 7m REM e QO HORNED TURBAN by Kamiya Satoshi | akesmie RIOTS SLT BERLE p ROBROAL LIE mmowesIsNLT WeRAs @ ae Reve SEUT DBE DUS aNT aU to) Nie ae | Diagrams hy Steven Casey oO 2. valley top diagonal edges Into the contre crease, 1. Precrease diagonal 3. foldthetop poim 4, Fold bosom diagonal Bthelousicomer coger the eate then unfold. iat crease, into the centre. 7. gabbit ear the near 6. Fold thebotton point up to lap to the righ. the top. The next diagram changes scl m2 8. Procrease and then sink the point. 10. Foret ine point away from tpase a 90 degrees and then unio. 12. Reform the 90 degree fold you made at stup 1, FLAT TRON by Brenda Saunders | LE °F inside reverse fold thet the point a 11. valley the whole bottom Section up where indicated. ; 43. completed fat ron, © Copyright 2005, Brenda Saun 3‘NI BLACKMOOR by Ronald Koh | m4 ‘The Blackmoot is best wet-folded or folded with tissue foil, though it can _ Taig bt tonearm paper A 25cm Shet produces te Se chmoue Use a black sheet pope fo—~, é oo ' Me en . awuinas! NU ly 2..Valley fold the diagonal edlzes, Bla CBothe rom A 4 Fold diagonally inal, Grse well and unos 3. told camer tothe 4, crease wel and open ot Ccreled lndmath, 8 Valley fold besween the cle landmaris. ee B.C: ike thie Repeat ‘iepn 8a b Ben thelet, 8. than mountain il the tangulor tebunden 8.2 Fold and unfold VW 9. Vale fod through the circled landmarks, such that edge BC me Tike this. Unfold, _. crease firmly, and unfold. 5. valley fold Corner C to the etcled landmark, micets edge AD exactly,QQ, _N BLACKMOOR by gold Koh = NIBLACKMOOR by Ronald Koh UEP yr" ‘Hh. Ropestseps9 and 10 In 12. Fold diagonally inhale eared J Enlged rom ep andangnerold 21 itshis Tapa he , Bice eee ae down Hmyape haces papelcaar ere Tinimart on ine ugh 45 there ‘pene 13. Frauen thatthe top and 14.Fold and unfold as 15Fold and unfold layers ar Tikstated: Crease ‘ai creasing accurately aligned, fold, fiom. Femi as ela oi othe ceed area 23...» like this. Ths should fring Poni Cathe Bottom tothe circled landmark, . Bann neo a the left, oa 9. Unfol falley fold as /alley fold again, 24, .. ina squash fold 25. Separate one layer of the ea Ue Sat eee ama ait gna sport, firmly again. ‘and unfold. em EG and squash fold, 116= A. _NBLACKMOOR by forall koh Val olde vec Pee ae a aes! eae 26, Tur paper ver agi 30. Fold Comer C to the titel landmark, crease firmly and uniold 29. thon unfold Step 27 28. Fold up, 32. Hold the paper athe lle postions ard pall {othe sides to open out 31, Mountain fold to hide tangle CDE fe “Sora” = eee NI BLACKMOOR by Ronald koh | LE B33. roma tne iced are of th paper 34, Ft fol the wing tothe frm, by pushing wards thon valloy il te a fromthe hack fat de, collapse the tothecente, Sides together again along the exiting, fold tines, o $5... as you bring up the 36. ...like this. Reverse fold 37, Fold Points A and 8 down crete 36. Nei eg 37 aaa arin a i athe Bot td then valley fold andunioid. Nex, hele fr down daw mii Fo the SSihe paper wil go. lew binging Comer e FtoComerce 19N BLACKMOOR by Ronald koh NI BLACKMOOR by Ronald Koh ! gee i 39. Fold the lower diagonal 40. Petal od ‘ol cles to the contre cease Fiiyy and untold oe? AA. Fle the litte 42. swivel the | ap on the 43. tab down, Fight tothe le, andi tee te it ayer onthe rh then sie he Hips inthe miele» Hike more thas totherigh Now free the first layer on the ie H7 . swivel Point D of the ‘nex ian sown, an Pont Ff the smaller fab up. ‘That dons, bing together to close up, 45. Gaaptheciied | 46... habs Puch ot ns and pol gon ‘Runde ara Sorta ee (ane gma Out thenswivel dom fold ine BC ‘dower song ine (Seethal postion in Be, Figure so} pp: AD ib cies ABs ‘to the middle ... mtNI BLACKMOOR by Ronald Koh | GEA. _N BIACKMOOR by Ronald Koh —] 50. ... to collapse as illustrated. 511. Pull down temporarily, G. Valley fold to place 57, Repeat Step 56 with 58... an again with Tine AB direct on lines CD ahd GH, ines “Dana EF Tine CD, crease erly, ad tinfole again, 52. .. and i outthe plated layers 53. tit out the hidden platin the from between te loles as shown, Tower section as well That dono, Iitoue the everapping hyers on 59. Separate the two diagonal 60. turn paper ove ‘edges and squash ol. 54. Now tt ot the remaining 55. Fist, do the horizontal valley fold th {angle layerftom win andthe Cea landmark, crease wel a fatten popet along existing. vile: Be te vera valley fold nent, gun cating well blore utotcng m2 cre}EGAN BLACKMOOR by Ronald Koh gee 61. Valley fold up, 62.Draw the mountain 63... ke this, intial he {5 line Ab tothe Saeeof te tiangilr igh ofhonzontal peogsion athe ec we elt tert AE 65. Fold and untold Hhetween the elcled landmarks. Crease and this. Fold tne 4 ands Fol 66. Fis, valle fold the back Tile Sloane fee andnans, In falf with a Firmly. Repeat at the ‘crease frmiy ane ‘mountain fold as bhack’and rotate the Unfold Next reverse lasted, paper 180 degrees, {ald on the lett as shown, Repeat tthe frncks making sire that sen ales match exactly SN BLACKMOOR by Ronald Koh 68... er creme No tandmarks from tess eer 67. tie Point Cup along Tine AB temporary AAR then valley fold 71... and tothe left again. 69. Reverse fold, .. 0. than ale AQ! 72. Fold the cotnes down to lock this plece in place, Hike this, 10 forma fin.a LN BLACKMOOR by Ronald Koh NBLACKMOOR ty Ronald koi 2 Litboth layers ofthe taitonthe 75, 74, ee then bring Point C dow pain, ‘iamhe paper over ard ea irom Sep 67 on the her se. 76. Now tgs ify Fs. do 77. he bs, wlerevese Sheil ear loldbeten eine ioldigabrg line AD. A Band without sehen Soon 78... unsilyour model looks ike eis, 79, and rapest Ss 76 0 78.00 oversee rae theotherside, 81 mccte neatly within Thebody Ike ths. 80. Pull this piece to the let temporal, without creating 2 Grease ine, . $2. val Jone leaf as Bia eee 84, Mountain fold. 85. Now swivel the fap inte mite ho igh, then do an open Pare 86. ... then valley fold as the fustrated 87, Separate the two layers fon the right and reverse circled landmark, ‘leas llasrmee 3 Tana fold a along Repeat tom Step 80 the existing crease line: ww| SEBLACKMOOR by Ronald Koh Haws 88.Tisisthe view son 89...thethis. 90. Reverse fod along 0 tewlend cine bearing ideal bide rere onthe ett eyes on, Carr of nape n 91. Reverse fold atong exist 92. Separate the two halves rave ling Rep ichind ‘and fatten out, 93. _. like this. Valley Fats, crease ry, 94. ‘Now hold the sic a. Ff out the layers corner ae pl ge fiom below, ma and untold tpiards to open out teiges SV BLACKMOOR by Ronald Koh | @e@u 96..,edmelie 97.Tisishow 98. ad fom he Tiger tne ral Saullo en Rn cer Resets. — Sparieontotn, ae 99. valey ‘oon at 100s ro tae ha tthe 104 ord tho Sikh, Geaeitmi, Oren one igeeaiantie Hausa econ’ — owanpalemmy Sere 6$é 102, iy atring 103. Fotd on tne down, completly. 19GAA _NBLACKMOOR by Ronald Koh O@¢ 104. auemre 105. Fold edge Eirecueleie ‘AB immediately ave sectoral 106. Now fol the diagonal Eelzonal ede GH, then down 109... tite hig Unfold entirely the postion atthe shirt of Seep 103. 110. 11, wro tt mn agpin. 4 Reet See 112.Fold down ago 130 joe ide, Sink fold along te ‘ese nes made Step Hachem corp ie Tia tthe ha of figure 12. 116. sa tadahngine 117. Fold ang ting od dving Ste, Sabb coleured ier cake uppers You proce. eae M BLACKMOOR by Ronald Koh 13. sepetomtan 114. me gave ela 115. Reon pie soni 120, Foi his ap up eee et sie, then repeat Step 114 0n the right This time, the tip of he right tab should be insetef tween the Tayers of he left, 118, hth, rr121. Make two valley folds 122. ‘on the let as shown, ‘The shorts fold onthe the long fold should be atthe base of the 127. Now flatten out the tangle ABC while EGA, _N BLACKMOOR by Ronald koh S¢qe ‘Ae nowt for right 123... ike hi, sie. ityp the thee! point tothe twit ava foldatong AB This wile ater fn the under ier 125. squash ot it. Fold Benen te circled Tandmarks and Pos Aand B respectively. Grease emly and ‘nel, 130, Reverse fold along he crease pening the miner 126. vali fod between Thecitlad dai, 129. crimp fold. Note the ‘i yelley and mourtain folds! SN BLACKMOOR by Ronald Koh 134, Mounain fo along ne AB Fold and unfold te ips on each side. Crease ily Tines made in Step 128 133... and mountain fold along, ijetrtng octagonal ree 434. Nowiitouttnejerson each 135. tise a view ofthe ope the ‘deol the upper ihe sie oF head 2 iS caso faten sown SPS 133AA | XBLACKMOOR by Ronald Koh NBLACKMOOR by Ronald Koh | 1411. Crimp fold the tail. The circled area should 136. 1. view fam the et 137, and thebouom, a prottde outward Side Tile hy ieketothe font 142. thateaddgupet 143. ten mountain lari 138. The Blackmoor should now look like this. 139, Outside reverse fold the Woven la “ i. Rhantion Sitentesharave Silence more, again od tnd nse ote perl oting he angle then outside reverse fold theta tthe ipa iMate sgt 145. Now forthe eyes and head, 140. Mountain old the base of the tail, and repeat on ‘he side. Next, sink the lise prteusion 3 shownNI BLACKMOOR by Ronald Koh AES @vug 152. Nowioldthecemnes 153. Crimpfold both 154. moun fold under AX N BLACKMOOR by Ronald Koh ee 146. Reverefoidatong —147...ttheths, 148. tikalong the Sartor Staweslerated —~” Repeatehind the existing crease ‘mountain fold line the eye. Repeat from lines, and swivel 1/8 of the: ‘Step 146 on the other Sctagon tothe right swith centre proruing fora sideto complete the eyes 149. now snksbocare 150. Nowroeseidd 151. rst agai he 195. Rog fh he corer 156. hn mrt Mmtecrscts | shop Peo Sem muchisyou undereni, pes ean a ae a eee epee ahi comple sf be ie Smee tne 2 5 setibe Repos ul be Sraiter ine welt tdoicate 9 pair ct ‘wecezers will Rep 3 great deal4. Pinch at centre for landmarks. 2. Precrease on 16th divisions. Fold in ees. 4. Make 30. 9. Crease ae untold top lye:NSUSHI SERVING TRAY by statt Gardiner 140 a & 13. 30 reverse fold both ends 14. tun over and finished! 15. Decorate with Makato Yamaguchis sushi “Tea bag folding is a method of folding simple modules that are then arranged ina medallion or wreath for decorative purposes. The style is probably quite fll but ts popularity and name is atbuted to a Dutch woman, Tiny van der Plas who used the outer wrappers of tea hags to fold medallions fox git cards, “The modkiles are ucually folded from small squares (around 5c), and work best when al the sheets have an identical pattern, asthe patter tse plays 3 part in the final design, You can buy special paper, or there are many Commercial papers often Korean) that have attractive designs. You can also design your own tiles on a computer although these can be a bit thick and the ink rubs off if not handled with care. You cam algo use stamps, fancy scissors, or foils and other fancy papers. Use the medalons o decorate cards, gis otc.—thereare several books and ‘web sites around to get ideas. Play around with simple shapes or modity ‘aps’ and corners to make your own designs; don’t forget to look atthe reverse too. Let your imagination run wild {© Care Chamberlain inspired by Tiny van der Plas) Perth Origami Group 2005. perthorigemi@hotmail.com Use 4 squares foreach medallion. Choose the appropriate part ofthe patter foreach unit practice with serap paper first). Assemble as shown or 5 deste m11a Accurately cut 4 squares into triangles, then fold = Assemble 8 units ino a medallion. ‘This simple module can be very effective - change fap size or cut the outer edge for variations me ‘water bomb medallion — use 8 squares. Good to show off mare ornate designs. SANGER, 4 Fist and foremost, the biggest thanks go to My Trinh Ha wwwelectrublossom.com, This wonderful book isthe result of her art direction, design, and incredible eye or etal. She coordinated the entre group of designers and their diagrams. She ensured that every page met her standards for layout and design, a measure of quality contol ‘which has produced an origamy! book of exceptional quality, which wl sian out tn the world of origami for many years to come. Next thanks go to Matt Gardiner for editing, diagram correcting, fund raising, organising contributors agrams, and ensuring the project proceeded on schedule ~ all while building Origami House and directing Folding Australia 2005, “Thanks to Mike Hopkins for his meticulous proof reading and assistance with book production atthe critical ies. ‘Thanks to the Melbourne Origami Group: Martin Lu, Matt Gardiner My Trinh Ha, Darren Scot, Steven Casey, Gareth Louis, Brenda Saunders, Charmaine Cruise, [Anna Pang and others who helped by making themselves available for nd casing activites; the group donated time to make commissioned works, ach at public events, perform at corporate functions and engage in shi selling strategies. /Ahneartwatming overthe-moon thanks tothe contributors who have given their work for publication, We were very excited a¢ exch dingram anived and we hope you enjoy folding their models ax much as we enjoyed making this book, |A generous thanks to Japanese Paper and Origami Supplies - wurcorigam.com at - fo supalying quality origami paper for this years convention. Visiter online shop fora full range of origami paper andl books. “Thanks to Richard rom Pop One 80 whe screen printed the cool convention bags! ELECTRO BLOSSOM wniw.clectroblossom.com “men AIRSTRIP_ Tupanese Caper &, Origont Supplies 143Ni image © My Tih Ha 2005In April 2005, Melbourne Origami Group. organised CUS oN ea TO CR TeLO DE Origami convention. Folding CNW rel eral Ucerel ie eit (ei eA) Japan, Singapore,NewZealand, eC UelO et te cco) uo kee CORDELE ram Tete ttle cha attendees to the convention, featuring works by Makoto Yamaguchi, Jun Maekawa, Satoshi Kamiya, Steven Casey, Conran olen nur mane ar Your support in buying this book will help make future Folding Australia events possible and encourage Australian origami oe nehetiy 80975"'746301 ISBN 0-97574: Qu?