I’ve sort of been putting this one off because I’ve had so much trouble with it. Challenge #62 is Ushio Ikegami’s Kepler’s Star.
There aren’t a lot of pictures with this (it looks mostly the same from all directions). While there are some flips and stacks (that is, folds through multiple parts together that show up as different polarities on the pattern) that are usually better done in diagrams, I think this would be difficult to do other than in a crease pattern.
I figured out reference points and put the pattern on a big square then cut to hexagon, but I used the thin paper I always use. This was too thin to work well. I tried to stiffen it up, but that was too much. So I finally copied the pattern on regular paper and folded that.
One of the pyramids would be a different colour with reverse colour paper. I put dots on it to kind of illustrate that.
This is an interesting model, as it takes a modular model and makes it with a single sheet.
What to say about Takashi Hojyo’s Bantam, which is Origami Tanteidan Magazine’s 61st Crease Pattern Challenge in issue #117? Hojyo’s stuff is always good, so that’s hardly worth mentioning. Looking at his, I noticed I left out a crimp for the neck, which would look a lot sharper. Actually, his looks very focused, but, while I guess I missed the tone, I like my eager chicken.
There’s a sort of fluffiness throughout this one. It’s really neat against the crispness of the head and the nearly hidden feet.
I hope my pictures are good enough, because this one’s really spectacular. Crease Pattern Challenge #60 is KAPPA the Water Imp by Chuya Miyamoto.
He has a lanky, nearly simian body, webbed fingers, the head dish, scraggly hair, the beak, cute eyes, and an amazing shell. I’m afraid it’s gonna be hard to see in the bright green I used.
The shell is pretty cool. Below, I have the unfinished shell first. This version is how it’s given in the crease pattern. It could be a mess to show the finished version in the pattern, but it’s clear from the cover and other images. You sink each point in and out a few times to make concentric scutes (the shell sections; yes, I had to look that up).
Also notable: He is very head and shell heavy. If you make him, his legs almost certainly won’t hold him up, so, if you don’t want him sitting, either his legs should be reinforced or he should have some other structure to hold him up.
Crease Pattern Challenge #59 is Horiguchi Naoto’s Brontotherium. It’s a prehistoric animal that’s like a rhinoceros. But it has two horns. So like, a binoceros.
It looks like what I took for a lower mouth/jaw should have been the entire lower head, with the horn part being just horns. That’s why mine has a wicked underbite.
Generally, I’m not too enthusiastic about prehistoric bi-rhinoceros. However, it’s a good model. It feels kind of soothing for some reason. I especially like the eyes part.
Challenge 58 in issue 114 is Seth Friedman’s Eagle.
This is a model that requires a lot of shaping, but it’s not some crazy amount. So, I like it, but I used paper that was too small (again), so I couldn’t really get the minor details. But then I really liked my (°o°) eagle. So I’m posting my tiny, surprised version of this model.
It’s a lot of eagle.
The luxury edition comes with so much more eagle.
Issue 113’s Challenge is Satoshi Kamiya’s Praying Mantis!
I don’t have much to say this time because I’ve already gone on a lot about Kamiya’s amazing designs.
Besides looking good, this model has a very slight asymmetry in the tail, which is neat. Also, his arms slightly remind me of a t-rex’s arms. I suppose that’s just all praying mantis arms though.
The only other thing I can think of vaguely related to Satoshi Kamiya is that he added a Kirin to his online gallery last year. I hope he puts out a crease pattern of that one sometime.
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.
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 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.