NICOLAS TERRY

PRESENTS

ORIGAMI
NATURE STUDY

SHUKI KATO
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 Bcar Cub / Ourson
Paper / Papier : Yohishi
Page 13

Brachiosaurus
Common Goldfish / Poisson Rouge commun Paper / Papier : Satogami
Paper / Papier: Japanese foi!
Page 35

Simple Dragonfly / Libellule Simple

Paper / Papier : Shadow-fold
Page 19

Diplodocus
Papcr / Papicr : Satogami
Page 31
 Complex Dragonfly Gray Wolf / Loup gris
Libellule Complexe Papcr / Papicr : Elcphant Hi<lc
Paper / Papier : Gerard Paper Page 43
Page 79

Parasaurolophus
Paper / Papier : Origamido
Page 67

American Bison / Bison Américain

Paper / Papier : Yohishi
Page 155
Asian Elephant / Eléphant d' Asie
Paper / Papier : Korean Hanji
Page 123

Giraffe / Girafe
Paper / Papier : Korean Hanji
Page 139

Giganotosaurus
Paper / Papier : 0-gami
Pagc 195
 Bactrian Carne! / Chameau de Bactriane
Paper / Papier : Elephant Hide
Page 93

Greater Kudu African Elephant / Eléphant d' Afrique

Grand Koudou Paper / Papier : Elephant Hide
Paper / Papier : Origamido Page 107
Page 175

Giganotosaurus 5.0
Paper / Papier : Do Paper
Page 222
 ORIGAMI
NATURE STUDY

SHUKI KATO
 lndex Difficulty Scale / Difficultés

Page4 Foreword by Robert J. Lang * Simple / Simple

Préface de Robert J. lang
** lntermediate / lntermédiaire
Page 6 lntroduction / lntroducâon *** High lntermediate /
Page 8 Terms, Symbols, & Techniques lntermédiaire é/evé
Termes, symboles et Techniques **** Complex / Complexe
Page 13 Projects / Projets ***** Super-complex /Super complexe

*** ** ***
Bear Cub Simple Dragonfly Simple Dragon
Ourson libellule Simple Dragon simple
Page 13 Page 19 Page 24

** ***
Diplodocus Common Goldfish
Diplodocus Poisson Rouge commun
Page 31 Page 35

**** **** ****

GrayWolf Brachiosaurus Parasaurolophus
Loup Gris Brachiosaurus Parasaurolophus
Page43 Page 55 Page 67
 ***** **** *****
Complex Dragonfly Bactrian Camel African Elephant
libellule Complexe Chameau de Bactriane Eléphant d'Afrique
Page 79 Page 93 Page 107

***** ***** *****

Asian Elephant Giraffe American Bison
Eléphant d'Asie Girafe Bison Américain
Page 123 Page 139 Page 155

***** *****
Greater Kudu Giganotosaurus
Grand Koudou Giganotosaurus
Page 175 Page 195

Page 222 Giganotosaurus 5.0

Page 223 Crease Pattern Extra / Canevas de plis complémentaire
Page 224 lnformations / lnformations
 Foreword

The twentieth century saw a revolution in the centuries-old art of origami. The work of Yoshizawa
(and, to a lesser extent, other Japanese masters of the era) ignited a worldwide interest in the art;
aficionados in the Americas and Europe then added to the developments going on in Japan. The
resulting wider practice and awareness of origami helped create a community of folding, bringing
together previously independent practitioners, allowing the sharing of ideas and techniques,
which then led to an explosion of origami art and design techniques, and permitted a cross-
fertilization between the worlds of origami and the worlds of mathematics, computer science, and
tech nology.

ln the 1990s, this cross-fertilization led to the development of powerful techniques for origami
design that effectively removed the purely technical limits of what was foldable. lndeed, computer
scientist Erik Demaine and collaborators proved that any possible flat ,shape was, at least,
theoretically foldable. Geometric folding techniques such as the tiling methods of Maekawa and
Engel, the "string-of-beads" algorithm of Kawahata, the circle-packing and tree theory of Meguro
and myself, and the Origamizer algorithm of Tachi, among many others, provided explicit
prescriptions for creating specified shapes efficiently from a single uncut sheet of paper.

So if algorithms can do anything, what is left for origami artists to do? ln one word: Art. Technical
design is but a toei, and toeis must be wielded under the guidance of an artistic vision. ln the
1990s and early 2000s, there was a flurry of folds showing off the toeis of complex design in what
often seemed mere technical exercises, but within a few short years, origami artists took contrai
of those toeis and used them to realize a greater artistic outcome. The results were works of great
beauty and character, but they were underpinned by a deep understanding of the relationship
between structure and form, between fold and line, that imbued their designs with an externai
beauty of the finished form, but as well, an inner beauty of elegance, symmetry, stacking, and
arrangement.

Shuki Kato is one of the vanguard of this group of young folders who are simultaneously pushing
the boundaries of technical design and creating figures of expressive beauty. Each of his designs is
intricately plotted: precreasing forms a scaffold, hinting at the structure to come, and then the
folds take shape. These works are a joy to see in their finished state, but they are equally a joy to
fold, to watch folds come together in a way that seems almost predestined. Whether you are
folding the simplest bear cub or the awesome toothfulness of the Giganotosaurus, you will surely
enjoy the process of bringing them to life and experiencing the mathematical beauties of their
construction along the way.

Robert J. Lang
March, 2017

04
 Préface

Le XXe siecle a connu une révolution dans l'art plus que centenaire, qu'est l'origami. D'abord, /e
travai/ de Yoshizawa (et, à un degré moindre, d'autres maitres Japonais de l'origami de l'époque) a
engendré un intérêt mondial pour cet art ; puis les plieurs d'Amérique et d'Europe ont apporté
leurs contribunons au développement se déroulant au Japon. La pranque plus large et la prise de
conscience de l'origami ont aidé à créer une communauté /iée par /e pliage, rassemblant alars des
plieurs auparavant solitaires, permettant /e partage d'idées et de techniques, qui ont mené à une
explosion de /'art de /'origami et des techniques de design, rendant possible un mélange entre /e
monde de l'origami et les mondes des mathémanques, de l'informatique et de la technologie.

Dans les années 90, ce melting-pot a conduit au développement de techniques de design

puissantes pour l'origami en supprimant efficacement les limites purement techniques de ce qu'il
était possible de plier. En efjet, l'in/ormaticien Erik Demaine et ses collaborateurs ont prouvé que
toute forme plate était théoriquement pliable. Les techniques géométriques de pliage comme les
méthodes de tiling de Meguro et d'Engel, l'algorithme "Cardan de perles" de Kawahata, /e circle-
packing et la théorie de l'arbre de Meguro et de moi-même, et /'algorithme Origamizer de Tachi,
parmi tant d'autres, ont fourni des méthodes explicites pour créer efficacement des formes
spécifiques à partir d'une seu/e feuil/e de papier non coupée.

Mais si les algorithmes peuvent tout faire, que reste-t'il à faire pour l'origamiste ? En un mot : l'Art.
Les techniques de design ne sont que des outils, et les outils doivent être guidés par une vision
artisnque. Dans les années 90 et /e début des années 2000, il y a eu une avalanche de créations
complexes utilisant ces outils dans ce qui ressemblait plutôt à de simples exercices
dedémonstration, mais en /'espace de quelques années, les origamistes ont su en prendre le
contrôle et les utiliser pour réaliser des pliages plus artistiques. Les résultats ont été des oeuvres
uniques, d'une grande beauté, soutenus par une pro/onde connaissance liant la structure et la
forme, entre /e pli et la ligne, qui imprégnait leur design d'une beauté extérieure à la forme
achevée, mais aussi, une beauté intérieure d'élégance, de symétrie, de forme et d'agencement.

Shuki Kato est l'un des avant-gardistes de ce groupe de jeunes plieurs qui simultanément
repoussent les limites du design technique tout en créant des modeles à la beauté expressive.
Chacun de ses modeles est pensé de maniêre complexe : le precreasing forme un échafaud,
indiquant la structure à venir, puis les plis prennentforme. Ces oeuvres sont plaisantes à voir dans
leur forme fina/e, mais sont toutes autant agréables à plier lorsque vous découvrez comment les
plis s'agencent d'une maniere qui semble presque prédestinée. Que vous pliez le plus simple
Ourson ou l'incroyable Giganotosaurus avec toutes ses dents, vous allez sürement aimer ce
processus les amenant à la vie tout en faisant, en chemin, l'expérience de leur majestueuse beauté
mathématique.

Robert J. Lang
Mars, 2017

05
 lntroduction

The title of this volume is a rather literal description of how 1 tend to go about designing my
origami models. 1try to pay dose attention to the proportions of animais, most often referring to
photographs, or in the case of dinosaurs, skeletal drawings. From there we can take
measurements and designate flap lengths with relative accuracy within the medium of origami.
The challenge then is to balance this with a clean and reproducible folding sequence and an
elegant crease pattern.

1 began folding origami around the age of six from John Montroll's groundbreaking "Origami for
the Enthusiast" and a few years later was fortunate enough to receive "Origami Sea Life" by
Robert J. Lang and John Montroll which 1 consider the most influential volume in my origami
library. After years of struggling through these wonderfully intricate designs, 1 started to design
models of my own. Among the first of those was a bear cub which carne about via freefolding - or
folding paper haphazardly without any final outcome in mind. This model has many flaws that we
try to avoid in origami designs nowadays, but it seemed like the most logical starting point for this
volume.

Over the years 1have acquired as much knowledge as possible from the origami community while
still trying to maintain a somewhat consistent folding style of my own. My approach to designing
involves the use of an efficient and hopefully distinctive crease pattern layout which often involves
heavy use of sinks and other complex origami procedures, mostly because 1enjoy developing and
being surprised by such structures. 1 also try to keep the outside of the finished models free of
undesired edges and this combination can lead to some rather infuriating steps! This is not always
the case however and in more recent years 1 have allowed for more exposed edges in favor of
additional detail. The Brachiosaurus for example is dramatically altered from its original version
where the layers of the shoulder were hidden inside the body.

The majority of the sixteen projects in this book are mammals followed by dinosaurs and you may
notice a theme in which most of them are of the rather massive variety. This comes from a
childlike fascination with top 10 lists of big animais: The Brachiosaurus is certainly one of the
largest sauropods, the elephants need no explanation, and the Giganotosaurus was considered
the biggest theropod for many years until Spinosaurus eventually dethroned him as king.

Origami diagramming is tedious work, but it can be remarkably rewarding as you reach those final
few pages. 1 do hope this book inspires both young and experienced folders alike in much the
sarne manner as the authors 1grew up with did for me.

1 cannot thank my publisher Nicolas Terry and his friends, family, and origami associates enough
for offering to publish this book, my first solo adventure. 1also want to thank everyone who test
folded these models and made me aware of a multitude of diagramming and grammatical errors,
among them: Eyal Reuveni, Guillermo Garcia, Max d'Anger, Philippe Landrein and Alex Sarazy-
Gomez. Thanks as well to the many origami artists who inspired me along the way, namely Robert
J. Lang, John Montroll, Satoshi Kamiya, Ronald Koh, Gen Hagiwara and David Brill and of course
thanks to my parents and three awesome sisters for supporting me on this origami journey from
the very beginning. A special thanks to my sister Stasia Burrington for designing the book's cover.

Shuki Kato
July, 2017

06