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.
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.
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.
49 is “An Angel Playing the Lute” by Fumiaki Kawahata. I like it, but, in spite of its complexity, it doesn’t have many minute details (such as fingers). This is the intentional style, and it’s nice that way. However, I don’t have a lot of pictures because of this.
It’s mentioned that this model has the same style as Takashi Hojyo’s humanoid models, but there are several unique editions. The lute itself is pretty interesting and well done. Hojyo tends to put the feet (or a foot) in the middle to make a larger and/or fancier skirt (such as with Gabriel or the violinist). Kawahata puts the skirt all between the legs and uses the extra paper at the side for the lute. His hair and wings have unique definitions. Also, looking at the original picture, I should have gotten some thumbs in there, oops (the fingers are still implied from one flap tho).
Challenge 48 is Issei Yoshino’s Manta Ray.
For an animal with few details, Yoshino’s Ray has a lot of details. He has gill vents on the front side, eye prong things on the head, and a knob leading into the tail on the back. It’s a really elegant and detailed model.
I must have made this one around the same time as the previous challenge, because I forgot to paint it beforehand and used water colours after. My pictures have one of the tricky folds near the neck stretched so that I’ll remember it if I want more rays. Too bad I forgot the trick to the gills.
Noboru Miyajima’s Shark is Challenge 47 in Origami Tanteidan #103. It’s not as complicated as the last one but has some interesting interactions. Mine is chubbier than the model shown, so he seems friendlier (to me at least). I forgot to paint him beforehand, so I used water colours. Because He’s a fish.
I make most of these models way in advance of posting them. Apparently, I decided to make a lot of my favourite Miyajima models for this one. So that’s a nice surprise.
I have his horse (with crazy hair) and Rhino, which are more simple but still great models.
He also has several interesting colour changing ones, such as a sea otter, raccoon, and cow.
The one I like the most is his fly (it’s the only one I remember folding). There is a bit of a trick to it to get from the basic crease pattern to the fly, which took awhile for me to figure out. I have since forgotten it.
The cow, sea otter, raccoon, and rhino are diagrammed in Origami Tanteidan Convention books 5, 9, 15, and 19, respectively (many are out of print though), while the horse and fly are by crease patterns found on his website, along with many others.