November–December, 2014

Origami Designer's Secrets: Ekaterina Lukasheva

by Ilan Garibi
Edited by Jason Ku
biography interview diagrams

This is the first time for me to interview a person I have not met. I will meet her soon, as
we both are guests of honor at the 32nd CDO Convention, in Italy.
Ekaterina Lukasheva (also called Kate) is highly versatile in a very narrow field of origami
- Modular Kusudamas. Her site is full of them, with many different shapes and colors, and
she also titled her first book accordingly - Kusudama Origami. As always, I presented her
with nine questions, and here are her answers.

Who is Ekaterina Lukasheva? Please tell me what I must know about you.
Kate : I’m a pretty little girl (at least in my own mind) who makes beauty out of paper. I
don’t sit nights trying to invent something. Instead I catch the ideas flying around me in the
air and put them into paper, bringing them to the material world. The ideas are like live
creatures; they like it when someone takes care of them. So sometimes they enter my
mind on their own; I just need to listen carefully and open up my mind to them.

Ekaterina Lukasheva AKA Kate
Image by Ekaterina Kim
All other images by Ekaterina Lukasheva
What is origami to you? Why are you interested in origami? What was the
first model you folded? Can you say origami changed your life in anyway,
or is it just a hobby?
Kate: For me origami is a big conundrum. If you have a blank sheet you compose a
conundrum out of it and you assemble this puzzle. Since the possibilities of the sheet are
endless, I get an endless source of interesting puzzles.
My first origami model (I don’t count paper planes) was a traditional kusudama, which I
assembled with my friend at school. I fell in love with kusudamas at that point. I can’t say
that origami changed my life; I’m too young for such statements. Though it’s very
important and interesting to me it’s still a hobby. I have a regular job and a family, so
paper folding is only part of my life. I not only fold paper, I can draw, model and
photograph. And there were periods in my life when I mostly had other creative hobbies.
Now I’m in the origami period: it’s the most interesting hobby, which brings much positive
feedback. But maybe tomorrow I wake up and have a great interest for something else:
who knows?

What is your muse? What drives your creation process? Do you fold
other people's models? If so, do you have a favorite designer? What one
origami book will you take with you to an island? If you don’t fold other
models, why so?
Maruyama
Kate: I never plan my creation
process; it’s impossible! Moreover the
creative spark appears when you don’t
even want it to start! It was a
“nightmare” when I wrote my thesis; I
had to work very hard and not be
distracted by origami. So I cleaned my
writing table and started writing the
thesis. You can’t even imagine how
many really good origami ideas flew in
the air and teased me! I couldn’t ignore
Birds, by Roman Dias their beauty. I had to take note paper to
Construction set: Precious make some drafts to capture those
ideas. Then I cleaned the table and more new ideas came. The cleaner the table the
more ideas tease you! I’m not creating with my brain. It’s more the subconscious process. The best ideas I had flew into my mind like clouds
in the sky. These ideas are indescribable, you can’t tell them in words or even draw them; they materialize only in a shape. Of course after
catching some good ideas I start working it over, trying to use all possibilities to use it the best way. You can cause great changes in the final
modular model if you change some proportions, angles or add some additional flap. Sometimes (rarely) I fold others' models. They are
mostly single sheet origami, because I have too much of my own modulars to fold ;) I adore those models that are elegant not only in their
appearance, but also in their folding sequence. I like the models of Roman Diaz, because they are not only very lively, but they give me big
pleasure with the folding process. To be inspired by others' modulars (or other geometric shapes) I don’t need to fold them. I can be inspired
by the set of stellated polyhedra by Wenninger or beautiful architecture, which are not foldable, but still inspiring. So I’m more inspired by the
form, but not by the folding sequence. May I change your question about the island and say that I’d better take my laptop with me? If you put
me by myself for a year I’ll make several books, because solitude is the best friend of the creator. When there’s nobody around, there is no
distraction from the flying ideas.

As I go through your flickr page I see an endless stream of modulars, perfectly executed. It seems you have many,
many original modular models. Why? What is so appealing in that field? Have you tried other fields of origami?
Kate : I like conundrums and construction sets, so folding modulars is two in one. First,
you have the puzzle part: how to make the no-glue model out of several papers; second,
you assemble your new construction set. I tried to fold others' one sheet origami and it
brings more pleasure to fold someone else’s good models rather than invent one's own
but not very good ones. And I have neither the conundrum nor the construction set when I
try to fold traditional origami. Not counting corrugations I made only two own single sheet
models: the Heart of True Love and the Crow, which is so easy that everyone laughs at
me when I show that action model.

Too many times I find myself trying to come up with a new model and
nothing happens. How can you keep on creating? Is it a fix procedure you
go through or are you more of a doodler; playing and searching in a trial
and error way?
Kate: I can’t say that there’s a
process. I may be doodling something Heart of True Love
when the idea comes to my mind or
not. I may be even sleeping when the
idea visits me. I invented my Rafaelita
model when I was slumbering in the
subway. This time I can say that I
ended up doodling, but my
subconscious was still thinking over
some idea. I rarely try to come up with
a new model, because I have a large
box of still unfolded units which I found
not attractive enough and put them in
that box. When I need ideas I can open
that box and take some drafts out. Rafaelita
Sometimes I can take the old little
paper and search for the improvement of the old idea.

What papers do you usually use? Why? How do you decide what paper to choose? Do you try to match the paper
to the model?
Kate: I use various papers for my models. Since some my models are made of tiny
papers there exist pretty much various colored papers for crane folding. I usually use 2
different types of paper: thick for geometric modular and corrugations (EH, Tant and
designer papers of ~120gsm) and craft and packaged origami paper (kami, chiogami,
harmony paper) for the models which have many layers and require thin paper. In the
latter case the process of choosing the paper may be extremely long. It sometimes turns
to a nightmare, since I can’t decide what will better match the model. In those cases I ask
friends to name the random color to ease the process :) My favorite paper is silver craft: It
matches nearly every model and gives a moderate stylish look.

Do you have a motto in your life? Is origami part of that motto? Is there a
message in your art?
Kate: At the very beginning my message was “Creation is easy!” because some people
thought that origami creators are semi-gods living on Olympus and eating nectar. That’s
Silver craft: Illusion not true. Origami creators are the people who simply can be free enough not to fear to
experiment. When one breaks this barrier and creates one's own model s/he understands
that creation is easy. Since my message found its followers (Russian kusudama community now has many prolific authors) I’d say that it is
not an actual motto. For now I just share the beauty with others. Beauty itself is a message. Beauty can heal hearts and make people
happier.
 If to speak of an origami related motto it will be “Origami is ART!”. Many non-folding
people don’t perceive origami as something serious. And modular origami is something
even less serious than traditional single-sheet representative origami. I’d like to prove to
broad masses that it IS art and it can be not only a child’s game. Making good models
and putting them on the Internet helps to show that it can be very beautiful (I don’t only
mean my models or my pictures).

I am sure there is one model of

yours that you would like to
point out for us. Which one is it,
and please tell us why you
chose it?
Kate: Grafique is one of the first
models that made me feel really
Etude delighted with my own work.

Is there one last question I should have asked? Ask yourself, but don’t
answer. Just let us know what is the question …
Kate: What will be the subject of your next book?

Grafique

Name Ekaterina Lukasheva AKA Kate

Place of residence Moscow, Russia

Profession Software developer

Email art [at] kusudama.me"> art@kusudama.me

Website http://www.kusudama.me

Diagrams!
To really know a designer, you must fold her models. Kate is not new to The Fold pages,
contributing models such as the Snow Queen on the left. Here are diagrams for another
model of hers, called Almandine.
Click here to download the diagram.
-Ilan Garibi

Snow Queen
 Almandine
© Ekaterina Lukasheva, 2012. Contact: art@kusudama.me

Blue version - 30 units

Rose version - 12 units

1 2 3

90˚

4 5 6

Inside reverse fold

7 8 9
45˚

© Copyright 2012 by Ekaterina Lukasheva

10 11 12

Repeat steps 9-10 on the other side

Fold the marked lines

Pocket

Flap Put the flap into the pocket.

Mind that the pocket goes
to the center of the unit.
Complete unit

Add units so that each time

5 units meet in the points
marked with stars.
© Copyright 2012 by Ekaterina Lukasheva
 !" # $ %&& '( ' &) &* ' + ,
, * - ' , * - # (
, ' * * ( . /0 1
0 - 2- 3 4 56 7 * (' 8 * - # 9
, * 6 ' : , * ( * ( '

8 * * ' 0 # < =* *'

; - * 6 *( * '
*'

0 # 0 # # ! 0 * * -
* ' *' # - * '

< =* " # 0
*' * ( ' > #- '
 $ 0 *
0 >-
# -
0 #
, # **
# ' # ' ? *
*- '
- A'
? * * '

%
&!$

0 @
; -
"
- - ' 2
-
' -
; - - '
0
- '

' ()

8 * ( #( ( - ( * >'

* + ( * -
; - - #
( - - ( "'

(((' # '
* + ( * ** -
; - -
# ( - - ( '

- ( * - - , - & *
* * - * *, - # * - '

- - (

'

- -
B # '

" - #
' 2 >
# ' " * -
- , - * - ,
*
, * - '

(((' # '
 November–December, 2014

Paper Review #23: Biotope

by Ilan Garibi and Gadi Vishne
Edited by Sara Adams
paper

This is the second Japanese paper we reviewed. Just like the first one, Karaperapisu, Biotope (ビオトープ) is distributed by Takeo and
packaged by Toyo. Again, we were not able to get official data, so this review will solely be based on our tests.
As you will see, this paper is a bit of a mystery. In some ways, it is very average – it’s not super strong, nor thin, nor specially textured. Yet we
all absolutely loved it! It feels stronger than the scores suggest and folding multiple layers works better than you think would be possible at its
thickness.
Without further ado, lets head on to the detailed review.

Properties
1. Thickness: The paper weighs 60gsm and has a thickness of 90 microns.
This puts it at the high end of thin papers.
2. Sizes: There's a complete range of sizes - you can find full sheets at
109.1cm × 78.8cm, or pre-cut squares with a side length of 70cm, 35cm,
24cm, or 15cm.
3. Colors: Takeo produces 18 different colors. origami-shop.com sells 10
shades: blue marine, forest green, moss green, yellow ocher, cotton white,
amber red, berry red, reddish brown, cacao beans, and earth brown.
4. Paper Coloring or Colorability: As this paper is only available in dark
colors, we did not test its colorability.
5. Texture: The paper is rough to the touch. It is almost completely opaque.
While the color is solid, it's not even: you can see the grain direction.
6. Photogenic: The colors are solid and the paper has a flat texture, which is
pleasing to the eye. Biotope is produced in 18 colors
7. Aging and Wear and Tear: This paper scores averagely, similar to good
quality kami. Biotope scored 442 with the grain and 504 against the grain. In comparison, kami scored 500 and 520, respectively. We
have no data in regards for acidity, but the model I have had on display for more than a year is still as good as new. 8 out of 10.
8. Memory: Although the numbers for tensile strength and bending resistance (see below) are not promising, this parameter is
surprisingly good, even very good. The paper is stiff and you get sharp and strong creases with little effort. 9 out of 10.
9. Forgiveness: Reversing a fold is done effortlessly. 9.5 out of 10.
10. Tensile Strength: We refer here to the maximum stress the paper can undergo while being stretched or pulled. In our tests, Biotope
achieved similar results to kami: it can hold 6.4 kg before snapping, stretching by 5.4 cm. 6 out of 10.
11. Bending Resistance: This section rates the amount of force you need to apply to get a sharp crease and how strong the paper is
while being curved. The results (50 and 21) are below average. To compare, Japanese Foil achieved 52 and 30 at a thickness of only
50 microns. 6 out of 10.
12. Price group: Moderate - fine folding - for showing in a monthly meeting.
13. Where to buy:
origami-shop.com (15cm, 24cm, 35cm, 70cm)
OrigamiUSA's TheSource (15cm)
origami-papier.eu (15cm)
origamihouse.jp (15cm, 35cm)
takeopaper.com (109.1cm × 78.8cm, delivery within Japan only)

Test results
Tessellation
Pineapple tessellation by Ilan Garibi, 31×31cm
Right after folding the first grid lines I had this urge to smile - the paper folds beautifully! The creases are sharp and so easy to reverse.
However, there is a major difference between folding with or against the grain.
For the diagonal precreases some tension is needed to break the paper from
corner to corner of every small grid square. It works very nicely with this paper.
Creases are visible and easy to feel, so I could complete this phase quickly.
Collapsing the model went well, too. In the first phase of collapsing, the paper fell
into place with a snappy click. In the second, much more demanding phase of
collapsing, I did get some crumples here and there. Still, the paper really jumped
into place and I was able to easily complete a very accurately folded model!

Complex
Lion by Satoshi Kamiya, 35×35cm
The paper is strong,
Surprisingly good for tessellations!
and you can feel it
immediately.
Although a single
layer may become
too soft if
overhandled, a few
layers together allow
shaping and
modeling easily. The
paper has a very
good memory, and
after reversing a fold Very good for complex models and shaping.
line it goes well in
both directions. While I did have some difficulties with the mane, I managed to shape it.

Modular/Unit Origami
Flowery Qube by Ilan Garibi; 6 units, 15×15cm
The units, which are simple to fold, are no challenge for this paper. Its texture is a
little rough, and the creases are sharp. I managed to puff the flowery part, but not
exactly as I wanted. The paper is not highly agile, but thankfully just enough.
Friction is high, which helps when connecting the units. Thanks to that the final
structure is stable, even though the design has no lock.

3D models
Rabbit by Hideo Komatsu, 17.5×17.5cm
This paper is a
pleasure to fold with.
It’s breaks crisply and
remembers a crease
The rough texture enhances the stability of the model.
wonderfully. I
completed the first
steps quickly, as the
paper gives no
reason to slow down.
The ears are multi-
layered and are often
a problem. Not here. I
got a strong stable
3D figure that was
easy to shape.

Sheep by Hideo Great with 3d models.

Komatsu, 35×35cm
This paper is very stiff and responds to your fingers with ease. I blazes through the first steps. Crumples did start to appear on the later,
more difficult steps, such as step 58, a closed sink. The paper manipulations required are very evident and give the unwanted effect of
"dirty" paper. The first time I was slowed down was when folding the hind legs. Having to fold many layers at once, I needed my bone folder. I
struggled a bit while folding the "repeat on the other side" step of the front legs. I had to unfold the section and try again, but thankfully the
paper stayed stiff enough to hold the weight of the final model.

Our young expert

At the age of fourteen, Ynon Toledano is our special third opinion reviewer.

Barosaurus by Satoshi Kamiya, 35×35cm

The paper folding
superbly. It is easy to
reverse fold lines.
The paper is strong,
so there is no need to
strengthen it. Shaping
is done with no effort,
and in my opinion it is
highly suitable for
every complex model, Look how nice the tail holds!
The paper is strong enough for the legs to hold the
even insects.
model's weight.
Owl by Katsuta Kyohei, 30×30cm
Highly recommended for complex models.

Final verdict
This is probably the most versatile paper we tried. As was earlier said, the
numbers from the test results don't reveal its true value. All three of us thoroughly
enjoyed folding with it, simple to complex models. It has great memory, feels like
a very solid paper and doesn't have any major flaws. Yes, it's not that thin, but it is
suitable for complex models, even insects, if you start with a 35cm sheet. It is not
a strong paper, but it is far from being weak, or ripping easily. Surprisingly, it was
great for tessellation. Modulars benefit from the slightly rough texture.
In flickr, I found only 29 pictures, all of 3D and complex models. Most of them
were posted by three folders. The paper holds the shape without need for MC.
Why should you buy it?
Although the tests revealed average scores, the final result is definitely above average! Being highly suitable for a large variety of models, it
is a very smart buy.
Bottom line: highly versatile!
Thickness Color Tensile Bending Price
Paper Size Texture Aging Memory Forgiveness
(gsm) palette Strength Resistance group
109.1cm ×
Solid,
78.8cm; 15cm,
Biotope 60 18 slightly Years 9 9.5 6 6 3
24cm, 35cm,
rough
70cm
93.9cm×63.6cm;
Karaperapisu42 15cm, 30.5cm, 4 Iridescent Unknown9 8 4 4 4
40cm, 60cm
Many
O-Gami ~25, ~85 55.9cm×71.1cm 32 Handmade 9.5/9 9/7 9.5 9/7 5
years
Clean Room
66 US letter, A3, A4 Limited Smooth Unknown9.5 9 6 7 3
Paper

Fine Linen,
New Linen, Many
Efalin 115 70cm×100cm 24 9 8 9.5 7 3
Crash, years
Smooth
varies; e.g.
Many
Lokta ~50 45cm×45cm, Many Handmade 6 7.5 9.5 6 4
years
50cm×65cm
Many
Bible 35-50 B1, A4 white Smooth 7 7.5 8.5 6 2
years
15cm, 35cm, full Rough and
Sato Gami 80 6 Unknown9 9 7 8 4
sheets Fibery
10cm, 15cm,
Glassine 40 20cm, A4, 11 Smooth Unknown9.5 6 8 4 3
70×100cm
Hand- Many
Unryu 27 40cm, 60cm 10 7.5 8 10 5 4
made years
A4, Smooth,
Skytone 90, 176 63.5cm×96.5cm 12 marble-likeUnknown8 9 7 8.5 3

7.5cm, 15cm, Smooth, a Many

Kami 60 200+ 8 8 7 8 1
30cm bit shiny years
5
Ingres 90 B1, B2, A4 (previouslyRough Years 8 8 7.5 8.5 2
21)
15cm, 20cm, Glittery;
Nicolas Terry
50 30cm, 40cm, 8 hues handmade Unknown8 8 9 8 4
Tissue Foil
60cm look
A4; Letter; Many
Onion Skin 35 White Cockled 8 5 8.5 5 2
84.5×64.4cm years
Smooth
15cm; 30cm;
Light and a little
Kraft 35 48cm; 35cm; Unknown9 5 8 4 1
brown shiny on
40×60cm
one side
28 hues, Less
Crumpled 48-51 64cm by 64cm plus 12 Bumps than a 8 6 4 4 2
pearled year
Smooth
110-340 (120
Stardream 72cm by 102cm 33 hues and Years 9 9 7 9.5 3
tested)
sparkly
40cm by 50cm Very Many
Origamido 10-100 Varies 5 to 9 6 to 8 10 2 5
and more broad years
A0-A7, B and C Mainly
50-120 (80 equivalents, white, but smooth Few
Printer Paper 7 9 4 4 1
tested) ANSI. Many many and dull years
others colors
various from
Japanese smooth Many
50 3cm up to 50cm 12 colors 10 4 5 6 1
Foil and shiny years
squares
7.5cm; 15cm;
Mildly Many
Tant 78 30.5cm; 35cm; 100 colors 9 8 6 5 2
rough years
110×80cm
Elephant A4; Many
110 7 colors smooth 10 7 10 10 3
Hide 70cm×100cm years
Paper Classic Action Tessellation Complex Modular 3D Wet Folding Final score
Biotope n/a n/a 8.5 9 9 9 n/a 9
Karaperapisu n/a n/a 8.5 9 n/a 9 n/a 9
O-Gami n/a n/a 9 8.5 n/a 9 8.5 9-
Clean Room Paper 8 10 9 6 6 10 n/a 8
Efalin 7 9.5 9 5 6 9.5 9 8
Lokta n/a n/a 7 8 n/a 8 n/a 8
Bible 8.5 7.5 8 8.5 6 8 n/a 8
Sato Gami 8 9 9 6 9 8 n/a 8.5
Glassine 8 8.5 9 7 9.5 7 n/a 8
Unryu n/a n/a n/a 9 n/a 9 n/a 9
Skytone 8 8.5 9 9 9 9 8.5 9
Kami 8.5 8 8 7 9 7.5 7.5 8
Ingres 7 8.5 8 7 7 8 8 7.5
Nicolas Terry Tissue Foil 9 8.5 8.5 9.5 8 9 9.5 9+
Onion Skin 8 8 7.5 8.5 6 8 n/a 8
Kraft 8 7 8 9 6 8 n/a 7.5
Crumpled 8 7.5 8.5 8.5 7 8 n/a 8
Stardream 8.5 8.5 9 7.5 7.5 9 9 9
Origamido 8 7.5 7.5 9.5 n/a 9 n/a 9
Printer Paper 7.5 7.5 6 5 6 6.5 n/a 6
Japanese Foil 9 9 6 8 8.5 8 n/a 7
Tant 9 8.5 9 8 9 8 7.5 8
Elephant Hide 8.5 9 10 8 8.5 9.5 9.5 9.5
 3D Tree
Version 1.2

Model & Diagrams by Jason Ku

Designed: ©2014/11/29
Diagrammed: ©2014/12/16

6
7
5

8 12

9 11
10

© Copyright 2014 by Jason Ku

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 16 17
18

15 19

20
14

13
6

3
2 4
5
1

© Copyright 2014 by Jason Ku

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 7,&+$8#(9'$:)(( <-=*"&+$>?$@(A
!"#$%&'()*(+,-'( ./012$3$4"&5$6"&5

1?$ /?$ C?$

1;B

1;2

O"K+$,&$A-KJ? O"K+$-&+$L&J"K+$-K"&5$*(-IL)(*(&'I? O"K+$'"$-K,5&$#,'A$M)(-I($K,&(?

2-?$ 2D?$ E?$

H"$I'(9$/$J"K+$'"$)('L)&$JK-9? :A,I$,I$A"#$,'$K""NI$-J'()$I'(9$2? O"K+$-&+$L&J"K+?

F-?$ FD?$ G?$

O"K+$'"$-K,5&$#,'A$M)(-I($K,&(? H"$I'(9$E$#A,K($I#,&5,&5$D-MN$JK-9$ O"K+$'"9$+"#&$-&+$'LMN$,&$

'"$'A($J)"&'?? D"''"*$JK-9I?

© Copyright 2014 by Raymond P. Yeh

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
85&& 95&& :;5&&

!E&23%)>&G32*>)+)%5&&,3&20@)&DEH&& <=)&0&*)$&+3&-3>>&+7)&+3*&*0-+=5&&?0@)&0 F32*>)+)%5

#$=)-+&B#$C)-&0$%&GA-I)&+7)&>#$)&(7#>)& 23A$+0#$&B3>%&+3&+7)&(73>)&+-A$@&0$%&
B3>%#$C&+7)&+3*&*0-+5 #$=)-+&B#$C)-&+3&20@)&#+&DE5

© Copyright 2014 by Raymond P. Yeh

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 November–December, 2014

Diagrams: Star "74"

by Francesco Mancini
diagrams simple

1974 was the year Richard Nixon became the first US president forced to resign after the
Watergate Scandal; Muhammad Ali regained his heavyweight title in Kinshasa, Zaire; and
the worlds population reaches 4 billion and one, and this one was named Francesco
Mancini.
30 years later, for his ten classmates reunion, Francesco designed this 10 units star,
naturally titled Star "74".
- Ilan Garibi

Click on the picture for diagrams.

Star "74"
Designer: Francesco Mancini Designed for the reunion of the kids born
in 1974 in my hometown, Tavenna, Italy.
Diagrams: Francesco Decio/ We were 10 kids so 10 units.
Francesco Mancini Works fine with any duo-color paper.
Paper ratio 1: 2
Starting from A8, the final model will have
a diameter of 8cm. It will not be flat.

1
2 3

4 5
6

8 9

© Copyright 2014 by Francesco Mancini

 10 11 12

13 14
1 unit
finished

X 10

How to connect two units

© Copyright 2014 by Francesco Mancini

4 5

Close the upper unit and insert

the flap under * (see step #5)
including the little appendix of the
6 other unit.

Two units connected. Add the

other units in the same way.

Star "74"
finished

Front Back
3

© Copyright 2014 by Francesco Mancini

 November–December, 2014

Convention Report: CDO 2014

by Ilan Garibi
Edited by Jason Ku
convention

Slightly hysteric

Suddenly, I woke up. I was a little hysteric, but not awake enough to know why. My head cleared slowly. Its
Monday; two more days. The flight is on Wednesday; we are going to the CDO convention. More facts are
rising in my brain. Tickets and passport are checked, nothing to worry about that. Oh, wait, I am one of the
Guests of Honor. I am not ready. Not yet. I need more time.

This is my fifth time in the CDO convention, and this time it is extremely special – I am a special guest. You
may think it’s a glorious moment, and you may be right, but glory has its toll. Being invited create also
liabilities. One must be prepared.

Preparations – models and classes

Preparations for a
I wanted my exhibition to be exquisite! I wanted it special workshop
to show my latest works, and to bring wonder to
the eyes of the viewers. It is not easy to choose, with 20 huge IKEA boxes in the
attic, full with paper models. Moreover, in the last two years I focused on other
materials, especially metal, and in a very big scale; not something one can bring in
his suitcase. Luckily, I also tried my hand with jewelry, from folded metal, and they
are perfect for this task.

Being in the last five CDO conventions, I knew I had to bring new models, and not to
This will be my surprise factor
repeat myself. So, some paper models, new; some jewelry, some wood models, just
to show variety, and a model to surprise the viewer – I decided to take my retractable pyramid, that consist of 16 pyramids stacked one into
the next; the bigger one has an edge of 70 cm; the smallest – 10 cm. Of course, I had to take it dissembled, all 96 units, and assemble it on
site.

With no less importance, the classes I choose to give as a special guest are my next issue to consider. Usually the classes will be full, with
more than the comfortable number of participants. One should be prepared with aids, diagrams, and problematic steps cleared for himself,
before he starts a class. I chose a modular, a tessellation, as I am a tessellator by nature, and two identical classes about the many
variations on a Cube tessellation. The best part of it will be a pendant/brooch, folded from wood, and installed into a metal frame. In this way
I can show how I think and design, and share my experience with jewelry making.

I wanted to add some spice to my classes, so my fifth and last workshop will not be a standard one. I decided to riddle everyone with paper
puzzles. Riddles and puzzles are my second hobby, and I cowrote a book about puzzles, which all you need to riddle with and to solve is a
sheet of paper. You won’t be too surprised to know that paper can be a source for not only origami models but also for logic, mathematics,
and tricks.

Finally, I was asked to give a talk about folding anything but paper. For the last four years I researched and tried my hands with metal, wood,
fabric, ceramic, and even glass and leather. This allowed me to use my folds in the industrial and internal design arenas, and I have
gathered a nice collection of applicable folds in metal and wood. My talk would be about the process I went through and how one thing led to
another.

Going there
To my first convention I booked a flight on the first day's morning and a flight back at
the night of the last day. While I was packing my stuff, I looked with envy at those who
stayed for an extra night. Since then I am wiser, and I always come a day before and
stay that extra night. Being a group of five coming from Israel, we planned some
sightseeing on the way; not rushing to get to the hotel too early. This area of Tabiano
and Fidenza is full of castles, history and beautiful scenery. We also had the time to
follow a wish I always had – to stop at the first Tratoria we see; upon the moment we
get hungry. That was exactly what happened, and we had a lovely classic Italian
lunch – great pasta, dried meat.

Getting there;
started; finished!

In the hotel, I am not sure I

can describe what appeared
to my eyes when the elevator
doors opened. All I can say
is, it involved a lady, a towel
and a kiss. This is truly the
charm of the place and the
A wooden brooch folded as a Cubes tessellation;
a workshop that asks for string and glue.
A castle on the hill top. Image by Yael Meron.
people. Especially for us, Israelis, in Italy it is so easy to feel at home, welcomed and
hugged. As the other guests of honor are coming a day before (part of the hospitality
of the CDO), this is the best of times to sit together, get to know each other, and
enjoy the spa and Hamam on the ground level. We are not alone, as people keep on
coming from all over Europe, and, as always, those who live the farthest get here
earliest. The evening before quickly turns into an endless “Oh, look who is coming
now!”, and hugs and kisses all over.

Quentin Trollip, a guest of honor, teaching his fox
image by Gervin Sturm
At a point no one can really spot, the convention is on! People are folding, talking,
mingling, laughing, and smiling. From that vague point, there is no more day or night;
it is food; fold; food; fold; fold food; games; food; beer; more games; sleep; food;
fold; talk; sleep; food; fold; feet fold; fork fold; chopstick fold; “Oh, no! why is
everybody packing their exhibitions?”

Teaching

5 days, more than 70 classes, 268 attendees, hundreds of models around the walls,
and thousands of paper sheets being used; it is impossible to cover all that.
Ekaterina Lukasheva, from Russia; Quentin Trollip from Canada, and myself, from
Israel, are guests representing the main genres of origami – modulars, figurative,
and tessellations, so each participant can satisfy his wishes to fold.

Retractable Pyramid, by me, made from 96 units.

Image by Gerwin Sturm
 The puzzled look on the participants
faces explain what this workshop is about!

I love to teach origami, especially my own models. My creation process is based on logic, and I love to see the gleam of understanding in
the eyes of the listeners. Unlike figurative origami classes, where all must advance together, with modulars or tessellations it is different. You
teach the single unit or molecule, and from that moment everyone is advancing in his own time. You can go one by one, explain help or
advice. With tessellations, I always give away a diagram of the single molecule and a 2x2 molecules, to see the connecting lines between
two adjacent molecules.

The Best Part

Night time always bring the best moments. It may be a long talk that evolves between
two folders, or the simplicity of a new origami game you are encouraged to
participate in. Such as one is Origtionary. You probably know Pictionary; a game
you try to transmit a word by drawing only. This game is the same, but you are
allowed only to fold. Each participant write down a word on a piece of paper, fold it
tight. All notes are put in a hat (there is always a hat there, somehow), and the first
player pick one. Let say he gets "knife"; so he must fold anything that will lead one of
the rest to shout “knife”. When he does, the guesser will pick a new note and the The Famous Couples custom parade
cycle goes on and on. It may sound easy, or difficult, depend on your flexibility (and if presenting the sun and moon,
the players stick to the rules – like "objects only"). Try to fold "Crazy" to understand. by Elena Oddone and Irene Buttari
 Graciela Vicente Rafales [Left] rising to the Fork and Knife challenge,
while Mikiko Miyamoto showing her variation to it [Right].

Last night is also the time for the planned games. Two groups fighting to force paper
airplanes to land on the land strip, or fold a necklace of hearts, and if the score is
tied, the group leaders will be asked to fold the heart with their feet.

Ohh, yes, of course I won!

Conclusion

Every convention ends with a sense of amazement – how time can accelerate to go
three times faster; how interesting are people who like to fold; the endless creativity
Finally, I am the foot folder champion!
our community is blessed with.

I am still in a phase I count my conventions. This one is my 13th. Many consider it a bad luck number; for me it was the best convention ever!

Till the next one!

-Ilan Garibi

The Israeli group

PREYING SCORPION 1.0
Design & diagram © Nikhil 2014

1. Begin with a square, white 2. Fold top corner to bottom, 3. Fold top corner to center
side up. Fold and unfold along make a pinch mark at center; make a pinch mark; unfold.
one diagonal. unfold.

4. Repeat step 3 (twice) till you 5. Rabbit ear fold. 6. Inside reverse fold
get 5/16th mark of diagonal. along angular bisector.

7. Inside reverse fold both layers. 8. Open sink shaded region. 9. Repeat steps 6-8 on right.

www.facebook.com/Niksorigami
© Copyright 2014 by Nikhil Sharma

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
10. Model looks like this. 11. Squash fold the flap (petal fold). 12. Fold top layer and joined flap up.

13. Lift the flaps ; squash 14. Fold two flaps ; reduce 15. Fold in half ; turn 900.
fold the two flaps. the size of claws.

16. Reverse fold (face) ; crimp the neck 17. Finished Preying Scorpion 1.0.
and body; shape the claws.

www.facebook.com/Niksorigami
© Copyright 2014 by Nikhil Sharma

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 November–December, 2014

Origami Designer's Secrets: Cheng Chit LEONG

by Ilan Garibi
biography interview diagrams

I have met Cheng Chit Leong twice. The first time was during 2008, in Singapore, as he
hosted me and together we went for a paper hunt. Second time was during the 6OSME
conference in Tokyo, where he gave an interesting talk about his way of designing 3D
shapes, using couplets. Cheng Chit refer to himself as a late bloomer, and while looking
at his handwork, one can see his garden is full with flowers from all the origami genres.

Who is Cheng Chit Leong? Please tell me what I must know about you.
Cheng Chit : I am from a country which a former President of a neighbouring country
called “a little red dot”. Although trained as an engineer, I spent most of my working life as
an investment promoter and economic development planner in a government statutory
board; had travelled widely; and had been stationed overseas. This has given me a broad
and varied view. As a boy, I had the inclination to make things, like household and other
useful items, and had an interest in painting and sculpture. This perhaps led me later in
life to do things from successfully filing a patent to taking up origami as a serious pursuit.

Cheng Chit Leong
All images by Cheng Chit Leong
Bottle Tree - a few genres of folding
are combined in creating this model.
What is origami to you? Why are you interested in origami? What was the
first model you folded? Can you say origami changed your life in anyway,
or is it just a hobby?
Cheng Chit: I started late in origami some 15 years ago. I had looked for something that
possibly would occupy my time after retirement, something that could make use of my
spatial skill and training in engineering. It was first knots and ribbon folding not origami.
But what turned my attention to origami was the so-called “bug war”. Origami artists were
folding complex models of insects and crustaceans. I told myself, “Wow! That could be
something I could make a contribution to.” Straddling both art and mathematics, origami
is design, and as a former economic planner, that has a special meaning for me.
Singapore’s economy has moved from a labor to a skill, and then to a knowledge
intensive stage of development. But after that what? It has to be design and innovation,
and, I thought, origami would be an excellent pursuit for honing design and innovative
skills.
After purchasing a couple of books on origami, the first model I tried to fold was Peter
Engel’s Octopus. It was a failure as the paper I used was too thick. Then, I managed to
get thinner paper and successfully folded the scorpion. Three month after picking up
origami, I plunged into design. I did not know much about flat folding, so my first models
were 3-D, with straight and curved creases. With the help International origami artists like
Robert Lang, Joseph Wu and others, with whom I established contact through the internet,
I learned more about origami and flat folding.
Origami, in a number of ways, has changed my life. Many of its principles run parallel to
those of life. Like origami, life is a journey of discoveries and the learning never stops. My
initial attempts at creating models in 3-D may be accidental, but there are, of course,
fundamental principles which I later wrote a paper on. The paper “Simulation of Nonzero
Gaussian Curvature by Curved-Crease Folding” which is published in Origami^5.
Origami has the severe restriction of folding with a single sheet of uncut paper, but there
can be many ways of folding. So, we need to keep an open mind and we need to
experiment. More important, we need to learn from one another.

You told me you are a late bloomer. What ignited your creation process?
What happened that turned you from a passive folder into a creator? Do
you fold other people models nowadays? If so, do you have a favorite
designer?
Cheng Chit: I started late but I had not been a passive folder. My nature is to explore and
so the creative impulse was there from
An early creation of a face, the start. I seldom fold other people’s
applying 3-D folding techniques. models but when I do so it is to learn. I
do not have a favorite designer but I
can count on David Brill, Robert Lang,
Satoshi Kamiya and, of course, Eric
Joisel and Akira Yoshizawa as my
favorites.

As I go through your flickr page

I see a huge variety – you tried
your hands with many genres of
origami; what are your favorite
subjects? Do you fold by
demand? How do you choose
your next designed model?
Confucius - This model has the same
base as Eric Joisel’s Dwarf. Cheng Chit: Yes, I have tried my
hands with many genres of origami, mainly because of my nature. However,
folding by demand seldom provides the spark or source for my creativity. The
commercial projects I did mostly require modifications of my existing creations
or new creations with hardly any new ideas. The bulls I did for the recent
Singapore Exchange project are a good example. The original design of the
bull itself was, in fact, an early attempt in 3-D folding. Often, my new creative
ideas come from seeing a relationship of folded with mathematical forms. The
models created by intrinsic curved-crease folding, as described in my paper in
Origami^5, is a good example. There are also instances where I see the
creation of folding forms as a challenge. That is the case for the paper at
6OSME in Tokyo, in which I presented a method of the folding of models by a
closed polyhedral surface.
You developed a systematic way to turn flat paper into the
desired 3D shapes, like faces and animal heads. Can you tell us
about that? You also design what looks like a “normal way of The bust of Nefertiti is represented by closed polygons.
folding”; what is your way to design those models?
Cheng Chit: I suppose my training in naval architecture has
something to do with the way I conceptualize 3-D forms from flat
material, like a ship’s hull from flat steel plates. For a ship hull, you cut
away the excess sections of the steel plates, roll them into sections of
a cone and weld them together. For origami, you find ways of folding
the excess paper and tuck the folds away. I call the folds “couplets” as
explained in my paper “Simulation of Nonzero Gaussian Curvature by
Curved-Crease Folding”. Another way of conceptualizing a curved
surface is by adjoining polygons. Again, the excess paper is tucked
away by folded couplets. This is explained in my paper “Design of
Closed Origami Polyhedral Surface by Straight-crease Couplets”.

What papers do you usually use? Why? How do you

decide what paper to choose? Do you try to match the
paper to the model?
Seal - The body of this early model is defined by conical surfaces,
Cheng the folds adjoining the conical surfaces are tucked beneath.
Chit:
Papers are an area which I have not explored widely. I started folding with
vellum or tracing paper in my early days. This paper is rather thick but if I use a
large sheet it should be alright for folding a relatively complex model. I do use
other types of paper, like paper-backed foil and kami but my favorite is
Elephant Hide. The paper is easy to crease and the final model can easily be
shaped. But as it is still relatively thick, my models are relatively large, which is
good as table sculptures.

Do you have a motto in your life? Is origami part of that motto?

Crane - This model is folded from vellum or tracing paper.
Is there a message in your art?
Cheng Chit:I have not consciously thought about it, but if I have to come up
with one, it would be: Aim to be the best in whatever you have selected to do.
Some people may misinterpreted that I claim to be the best origami artist or
folder. This is not so. There are many areas in origami that you can strive to
 be good at. So in origami, I focus on areas which I could be good at. Of course,
origami covers both the technical and the artistic aspects. For example in my
horse, created for this Chinese Year of the Horse, I want to portray it as a
spirited one, a leader and ready to perform the tasks for the year ahead. The
same goes for my eagle. I could depict it as swooping down on its prey or
soaring up into the sky. So, as an origami artist, one would need to be good in
both areas.
I am sure there is one model of yours that you would like to point
out for us. Which one is it, and please tell us why you chose it?
Cheng Chit: I would select
my Arowana. The scales are
represented by the
tessellation. Folding the
Soaring Eagle scales at the centre and
Having seen the Bald Eagles on a visit to Alaska, towards the front larger gives
the body the nice 3-D form. I
I wanted to fold one depicting the posture of an eagle
had two models folded. One
soaring up into the sky or swooping down on a salmon.
was given to the then Prime
Minister of Singapore, Mr Goh Chok Tong, during his birthday. In return, I was invited to Golden Arowana
his birthday party. This is one of only two models I have folded.
The folding concept is relatively simple but
Is there one last question I should have asked? Ask yourself, but don’t folding it and folding it well is tricky.
answer. Just let us know what is the question …
Cheng Chit: Origami is a late comer in joining the ranks of the other art forms. Can one make a living in Singapore by being an origami
artist?

Name Cheng Chit Leong

Place of residence Singapore

Education B. Sc. First Class Honours in Naval Architecture from University of Glasgow

Profession Origami Artist

Email leongccr@singnet.com.sg

Website flickr

Diagrams!
To really know a designer, you must fold her models. Here are diagrams for the
Spirited Horse.
Click here to download the diagram.
-Ilan Garibi

Spirited Horse - 2014 is the Chinese Year of the Horse

Folding simulation of non-zero Gaussian Curvature by
Mountain and Valley Intrinsic Straight and Curved Crease
Couplets
Cheng Chit LEONG

Abstract
Flat folding origami is a natural development of paper being “developable”. Every
point on a paper has zero Gaussian curvature, and a flat folded model can be
considered as one consisting of a stack of linked parallel polygons. The creases are
intrinsic straight. The 3-dimension appearance of the model is the result of either the
easing of the folding tension by the dihedral angles “yawning” or by adding folds to
the flat folded model to make it look more lifelike.

There is now a trend to design models which are not flat folded. One way, which is
related to flat folding, is to fold a polyhedral model by folding first a flat model and
later making it polyhedral or to fold it directly with intrinsic straight creases. The other
way is by employing intrinsic curved creases.

Models with straight creases can be flattened without destructing the straight
creases but models with curved creases cannot be flattened without destructing the
curved creases. Although non-flat straight crease origami is increasingly common,
curved crease origami is seldom applied except in geometrical models.

Several papers on the use of both intrinsic straight and curved creases in simulating
curved surfaces have been published before. In this paper, we will focus on the use
of a couplet of intrinsic curved and straight mountain and valley creases to simulate
non-zero Gaussian curvature and use it to fold both origami models.
Design of Origami Polyhedral Surface by
Straight-crease Couplets
Cheng Chit Leong

Abstract
The surface of any object is a continuum of different curvatures. Generally, the curvatures are not
developable. We may, however, represent the surface by facets or polygons or that are adjacent to
one another. For practical reasons, the number of polygons need not be large, but it should be
sufficiently large to present the surface in a realistic and aesthetic manner.

In flat folded origami, the surface is essentially defined by complete polygons and edge determined
(imaginary) polygons. The object of this paper, however, is to present a method for designing the
polygons, and to provide a technique for folding, from an uncut sheet of paper, a 3-diamensional
closed polyhedral surface to represents the object.

The method for designing polyhedral models based on tucking molecules has been written by
Tomohiro Tachi [Tachi] and other authors. This paper adopts approaches, which differ from theirs in
several fundamental aspects.

First an aesthetic (and judgmental) approach of defining the polygons representing the surface is
adopted. This is not triangulation and, in fact, triangles are avoided as far as possible. The method,
taking into account that several of the polygons are already joined at the start, immensely minimizes
the number and reduces the complexity of edge and apex tucking molecules.

Another approach adopted is the folding technique based on the couplet to align all the polygons
together. Each couplet consists of a straight mountain crease and a straight valley crease. The
couplets need not run along the intersections of the polygons.

An example of designing and folding of the head of Nefertiti is given.

 SPIRITED HORSE c Cheng Chit Leong - 2014

Complex (Singapore)

A 40 cm. square gives a model of 16 cm. from nose to tip of tail.

1. Crease. 2. Crease markers on diagonal. 3. Crease. Turn over.

4. Fold. 5. Crease. 6. Collapse for tail piece.

7. Crease. Turn clockwise 8. Crease. 9. Fold down.

45 degrees and flip over
vertically.

10. Reverse fold twice, first 11. Reverse fold. 12. Crease and repeat for
along mountain fold and other side.
then along valley.

© Copyright 2014 by Cheng Chit Leong

This document was published by OrigamiUSA’s on line magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://origamiusa.org/
 13. Reverse fold top and 14. Bring lower left corner up 15. Turn anti-clockwise 45
bottom. Turn anti- and squash. Repeat for degrees and flip over
clockwise 45 degrees. other side. vertically.

16. Crease. Repeat for other side. 17. Crease and colapse both sides ...

18. ... like this. Lift up to open but do 19. Fold appendages for hind legs and
not crease. close.

20. Collapse both sides. 21. Double reverse fold to shape tail.

22. Double reverse 23. Fold out hidden 24. Fold both sides 25. Fold.
fold to shape corners on both
both hind legs. sides.

© Copyright 2014 by Cheng Chit Leong

This document was published by OrigamiUSA’s on line magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://origamiusa.org/
26. Reverse fold. 27. Reverse fold both 28. Fold in and repeat for 29. Outside reverse fold.
hidden corners. the other side.

30. Make two reversed 31. Reverse fold to 32. Open. Make horizontal 33. Pull out and tuck in
folds to bring in. bring the two mountain fold joining corner. Repeat
corners in. the two mountain folds for the other side.
shown at X and crimp.

34. Reverse fold. 35. Sink. 36. Fold down both 37. Double crimp center
sides. portion and bring down
both sides like.....

38. ....this. Double 39. Bring head up. 40. Spread out head to 41. Fold ear and mane.
crimp. flatten and double
crease.

© Copyright 2014 by Cheng Chit Leong

This document was published by OrigamiUSA’s on line magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://origamiusa.org/
 43. Fold up.

42. Open and fold down. 44. Fold. 45. Fold both sides.
Form eyes in process. 46. Narrow both fore legs.

47. Tuck in. Repeat for the 48. Narrow hind legs. 49. Fold hooves. Shape 50. The model is complete.
other side of leg and also model.
for the other leg.

© Copyright 2014 by Cheng Chit Leong

This document was published by OrigamiUSA’s on line magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://origamiusa.org/