Crease Pattern Challenge #56 is Hitoshi Kakami’s Coelacanth. I’m glad this is written, because I’m not sure how to pronounce that.
This one has a reference guide on half of the pattern. In spite of this, there was some point I had a lot of trouble finding. This is also one of the ones I folded a long time ago, took insufficient pictures of, and lost. Instead of finding that tricky point again, I copied and printed the pattern and folded that for pictures of the details.
In an interesting coincidence, I tried to find reference points with someone on a message board for a crease pattern model in Calico’s Origami Aquarium. I like Calico’s models, and even made my own Zapdos mainly because there was no crease pattern for Calico’s. The coincidental part is that Calico is Hitoshi Kakami.
There are a lot of great models on that site, but, unfortunately, only a few have crease patterns. Even then, there is a big jump between crease pattern and final model. Since the reference points on this crease pattern are given (and I forgot what else I did), I have my reference points for the model we were looking for on the board, Calico’s Rattata. Below is how to get the reference points, the folded crease pattern, and the shaped model.
The funny thing is my reference point method is slightly off. People go on a lot about how perfect you need to get things, but that’s not perfectly true. I think I push the limit of how slipshod you can be though.
Recently, I heard somewhere Satoshi Kamiya came out with a tiger in the last couple of years. It looks like he has, but it’s not on his website. I couldn’t find where to get a crease pattern or diagrams for it. Maybe he’ll do a Works of Satoshi Kamiya 3, and it’ll be there.
It got me thinking of stripes and tiger faces, and I made a tiger. I came up with the top of the face first. From where it was in the paper, I could include teeth (like the Balrog for example) and did some mock ups, but he seemed too angry.
I decided to could use a similar pattern to Satoshi Kamiya’s dragon legs (the method he uses for the Ancient Dragon and Bahamut’s legs/hands) because it would set up a striped tail and extra paper for stripes.
The first major try was a good start, but I wanted the stripes longer and more of a neck. Also, the head details (particularly the ears) could be better.
I shifted things around and got… well, I got longer stripes at least. His body’s too short, except his tail, which is ridiculously long. And the head’s way too big. He looks kind of like a fu-tiger maybe. I actually think he’s endearing, but he’s not what I was aiming for.
I’m pretty happy with the final version. The tail’s a bit long and its stripes are too triangular tho. Otherwise, I think it turned out well. I like the proportions and that he has a neck. The ears aren’t super well defined, but work with the head fluff. I was initially going for “serene” in the face, but the lower jaw causes more of a “Hi! :D”, which I like more.
Challenge #55 is Chuya Miyamoto’s Clown. He stands on a circus pedestal. One half of his outfit is solid coloured and the other has a diamond pattern. He’s holding an accordion. He has neck ruffles, a painted face, and a jester hat. It’s hardly believable that a human could come up with this model. Is Miyamoto actually a sentient supercomputer plotting world domination and origami? Yes.
On my first shot (in purple), I probably used too small of paper (again). I got most of it, but actually inverted the pattern, which both caused the coloured part to be white and vice versa and mirror-flipped the model. I also didn’t quite get the diamond pattern on the leg. At some point, I made the face separately to make sure I got it right.
While making it the first time, I enjoyed it much more than I thought I would. I noted a couple of things and made it again with a few changes and larger paper. The main thing was making a simpler pattern (triangle instead of diamonds) and using what that freed up to make a belt sash. I also changed the costume slightly, where the opposing arm and leg (left and right) have the pattern and the solid arm and leg switch colours.
Tips for folding: If you fold all the corners to the center point, the inscribed square’s grid is 48 (3*24), and most of the rest of the pattern can be determined off of the grid. The only other notable part is that one or two of the lines that cut across the pattern (I think the neck ruffles) has/have the wrong polarity on the crease pattern (a mountain fold should be valley or vice versa).
It’s been awhile since I posted stuff. Guess I had holiday blues.
Anyway, Crease Pattern Challenge #54 in Origami Tanteidan Magazine Issue 110 is titled “No Eating!” and is a Sea Bream by Tomosuke Igarashi. I made sure that link is big so you can follow it to see what the final model should look like, because you sure aren’t gonna see it here. It’s on the cover of the second entry, not the first, so scroll down.
A lot of times, I’ll use a copy of the crease pattern to get the reference points of a model (particularly if it’s not a grid model) or find out what’s what. On this one, I decided the crease pattern was insufficient.
I’ve talked/complained that some origami models are less suited to crease patterns than others. The thing is: most crease patterns must leave off some of the smaller details to not be a mess. This can be a good thing, as solving or improvising these details can allow different people to add individuality to a model.
This is not applicable here. On this one, the center point should be used to create a colour change for the teeth, and the outer flaps should be used for the maw and eyes. To me, this is the whole model, and almost none of it is represented in the crease pattern. In the crease pattern, the scale texture is basically the whole model.
I folded all the lines other than the texture pleats (and I’m able to fold pleats), so I’m calling this done. In case you’re wondering, I haven’t been stuck on this one like I do with geometric models (like Ikegami’s Snowflake Curve). I made it and called it awhile ago. Maybe I could get more out of it if I could read Japanese, but I doubt it.
This is my version of the pokemon Zapdos, or just a general thunderbird, if you’re not into pokemon.
I designed the head first then the wings. After these, the things that changed the most were the legs and tail. Only the width of the tail really changed, because I wanted it to be like the tail in Calico’s Zapdos, shown here (I wish there was a crease pattern or something for that).
The yellow one has the earliest legs, where only the lower legs and front feet change colour. The shiny one has completely different coloured legs a slightly different tail. The matte one is the final version, with the legs sticking straight out from the main body.
I been trying to do fancy outdoor shots, but I wasn’t sure what to do here. So I made him in a fence thing.
This is more my thing. Challenge 53 is Naoto Horiguchi’s Lion. He has a fantastic, almost floral mane and a nice face.
Yet again, I could have shaped the details better if I had used bigger paper but used the same size I usually do (twice!). Also, maybe I should have paid more attention to the final image. Horiguchi slanted the bridge of the nose up and made the face more 3D with great effect.
Apparently, I drew in the crease pattern on one of these that I did. But I lost that one, so I did a new one without lines. Then I lost that one and found the first one. Here he is outside.
I wasn’t sure I could find a sort of savannah-like place, so I made him a tree, which is also there.
The pattern’s on a 24 grid (so 3x2x2x2), so it’s not too hard to decipher.
Crease Pattern Challenge #52 is Seiji Nishikawa’s 15° Based Camel.
I don’t like it. Normally, I wouldn’t be so direct, but he has probably hundreds of models that I love anyway. This one did grow on me a bit, but it feels more like an experiment on 15° based models. That’s fine too, but I’m in it for the camels, man.
It is a fine enough camel, but having to fold so many thirds for it doesn’t seem worth it. Maybe it’s one of those “elegantly simple” models?
The model is actually from a weird hexagon. The angles are simple enough, but finding the reference points for the hexagon was difficult for me. Initially, I just traced the pattern, but I went back because I’m stubborn. I’m honestly not sure how well I got it. You can see the back hump is off, so one of the points might be shifted. However, I’m pretty haphazard on folding. Anyway, my method for finding the reference points is below.
Challenge 51 is Takashi Hojyo’s Geistkämpfer. That’s German for “Ghost Warrior” or so, but the Japanese title is 弓をひく天使, which is “Bow-firing Angel”. Both names are pretty badass.
So is the model. I’ve made this one a lot, but I couldn’t find any and only had a few pictures (the yellow ones). I made a new one coloured bronze like a statue.
I frequently fold this model a little differently than the pattern shows, changing the polarity flip to cause the lower part to be different coloured than the upper and wings (on double sided paper). It should be the wings different than the rest.
This is a great model, but I also enjoy folding it for some reason. It’s interesting but not frustrating, and the results are very striking.
I thought it might be neat to do tips sections for these challenge entries.
TIPS: It’s on a 64 grid (2·2·2·2·2·2), so the reference points should be easy. The real tricks are the two polarity switches. The first is in the middle with the wings; both sides of the wings can be folded at the same time as a unit. The other is above the wings and switches the upper body to be the same colour as the lower body.
I was really proud of this Bowser I came up with, but I had trouble getting the face. I thought I’d improved it a lot, but someone pointed out that it was still bad. Anyway, while I debated on putting it here, I put a lot of work into it and maybe can adapt it to a kappa or Gamera.
There’s an initial version and a final version. Also, I painted them so it would be more clear they’re supposed to be Bowser, and I’m showing both painted and unpainted.
The face was actually a bit different before painting because the paint reset the paper a bit. I couldn’t get it back after that.
(Everything above this is the initial version, and everything below is the final version.)
Apart from the face, most of the attributes between versions are the same with only slight differences. I moved the shell spikes out from each other in the final one, basically to as far out as I was comfortable with. The tail is slightly different between versions. I also put little bands on the first one, but those are just separate strips.
For the final version, I painted it beige (the colour that the mouth/nose, horns, and spikes are) before folding to make things simpler. I tried to make a more structured face, but the bigger problem is that I don’t do curves very well. I tried to offset that by making the hair sharply geometric, trying to give it a more cubist style overall.
OTM’s Crease Pattern Challenge #50 is Phalacrognathus muelleri II by Sipho Mabona. It’s a rainbow stag beetle. I like that title better, but I guess the species name is classier.
I drew in the pattern to keep track of it, which is the gold outline on some of the edges. I like it. The pincers on mine don’t look as fuzzy as in the picture though.
I forgot to put the eyes to the sides. At least he’s alert.