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.
Takashi Hojyo made a spectacular Raijin, the god of thunder, which is on his site here. The crease pattern is in Origami Tanteidan Convention Book 10. Since the previous Crease Pattern Challenge mentioned Takashi Hojyo (and since Raijin isn’t one of the challenges), I thought I’d drop this here.
Raijin is usually paired with a similar god, Fūjin, the god of wind. Apparently, they fight each other a lot, but I only ever see them get along. One of the most famous depictions of them is two folding screens by Tawaraya Sōtatsu, a National Treasure of Japan. I tweaked the pattern to make Fūjin so that I could have something similar.
Hojyo’s style is more angular, like some of the more Indian inspired Buddhist statues. Fūjin has a wind bag instead of the drums surrounding Raijin, but I tried to make a few more subtle changes. Other than positions, Fūjin is a little wider than Raijin. Also, I tried to make Fūjin’s face slightly friendlier than Raijin’s.
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).
A few days ago, the first trailer for Godzilla: King of the Monsters came out. Yay! I love Godzilla, and this one looks pretty good. It also has Mothra, Radon, and King Ghidora (and maybe others). I’ve made a Godzilla and Ghidora, so I thought I’d post my origami Mothra.
This was an odd one due to the wings needing so much length. I made the abdomen from a point formed inside the square, and then spread it out and added ridges. That way, I could make sections for the head, wings, and legs using the edges of the paper.
I like how the face turned out, which is odd because it’s mostly shaping. The eyes in particular had to be indented to show up, but they turned out. The biggest problems were the antenna above the head (which turned out a bit short) and the appendages to the sides of her mouth. I tried to get those from the set with the legs, but they sometimes look more like forelegs.
I figured Mothra would look better painted, with all the vibrant colours. She’s pretty fuzzy, so I used oil paints because they sometimes look fuzzy to me (not that they really do here). I left the white unpainted. Her hindwings are above her forewings now because I painted them second and don’t know how long it takes oil paints to completely set.
I’m thinking of updating my Godzilla a bit so he’s not so thin and adding some to my Pteranodon to make a Radon. I wonder if I should try Gamera? Daiei should really let them put him in a movie with Godzilla.
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.