This book is mainly about animals. Although many subjects—both representational and abstract—can make good fodder for origami, animals are among the most fun to design and fold. They have broad appeal, and can be as simple or challenging as you want them to get. Even exotic animals are somehow familiar in essence, and touch on something deep within the human psyche.
My design process begins with meditation on the subject to see if I have anything to say or an approach that looks promising. Which aspects of the subject to emphasize? What should be minimized or left out entirely? Should it have claws? Does it even need legs at all, or is a mere suggestion enough? The balance between simplicity and complexity is a central concern in the creative process. While I enjoy complex models, I don't like complexity for its own sake. It's only justified if it expresses something essential. This first phase, before the folder folds anything, is perhaps the most important. Every artist will answer the question differently, and that is one of the things that makes our art compelling.
Capturing something about the posture and attitude of the subject is important. Animals are lively: they move around and do things and are not in the same position all the time. Although a finished origami sculpture is (usually) still, I strive to capture something about the subject's style of moment. Is it strong or quick or fast or slow? The stance communicates much of this. One important area to concentrate on in almost any model is the shoulders and neck; the connection between the head and the body. This often speaks much more about the subject than making detailed and anatomically correct appendages.
The level of detail and realism I'm going for informs the kind of base I need to develop. I may not always think in terms of a traditional base, but I do think in terms of what features will develop from what part of the paper and how. Developing points is one consideration, and indeed technical knowledge of how to create the points needed for legs, tentacles, claws, and antlers, etc., is essential. But that is only one aspect. Equally important is how to develop the form of the body, to control where paper is concentrated in the model, where the weight and the thickness lie. Every point generates an equal or greater amount of paper that needs to be tucked inside the model or used somehow. My tendency is to create points where needed, usually from the edges of the sheet. In fact, many of my models are just one layer of paper thick for the greater part of the body. This helps me maximize the size of the model and avoid thick masses of folds that are hard to deal with. Thickness at the edges is good for strength, and weight can be used for balance. It also allows for more freedom to sculpt the model when the finishing stage is reached.
One endlessly fascinating question in origami is symmetry. Most traditional models use 22.5-degree symmetry, which is easy to develop and fine as far as it goes. But why can't the paper also waltz? One feature of my work is the use of alternate geometries, one-sixth and one-fifth, and polar or rotational-based symmetries. Models made with these alternate geometries can have a grace that the traditional symmetries lack. Of course it's always a question of what is appropriate to the subject.
ON FOLDING
All models in this book can be folded from a single square, most from a six- or ten-inch sheet. Kami or foil will work for pretty much all of them, but for the more complex ones, or if you want to fold an exhibit-quality model, you'll want to take some care to select the right paper.
For complex models, my preference as a sculptor is towards larger sheets—12, 15, or even 19 inch. Many advanced folders prefer thin papers, but for my models that will often be too floppy. I tend to get the best results from thicker papers. Most of models in the book will work quite well folded out of papers like Canson, Wyndstone, or Tant. These papers are quite attractive and available in a variety of colors in larger sizes. As a go-to paper for advanced models, Marble Wyndstone, also known as Elephant Hide, can't be beat. Of course, it's not cheap, so I don't recommend using it for a first attempt.
Finding good two-colored paper for complex color change models can be a concern. I sometimes use scrapbook paper, although finding the right sheet for a particular subject can be hit-or-miss. I prepare my own paper from time to time. One method is to paint a sheet of paper on one side. Another is to create tissue foil. This is done by taking a piece of foil and laminating a sheet of tissue paper of the desired color to one or both sides. You can also laminate a sheet of tissue paper to one side of a paper such as Wyndstone.
Mastering a complex model is similar to mastering a complex piece of music. You may not get it perfect on the first read-through. Instead, take the opportunity to learn to model. This means working through any difficult sequences until you understand them well, and also looking for opportunities to maximize expressiveness inherent in the model. Repeatability is the important quality in the first phase, and individuality in the second. I've been folding some of these models for years and I'm still finding new ways to bring out the subject in the finishing phase.
As for understanding the diagrams, try not to worry too much if you encounter a difficult step or sequence. Understanding comes with experience. Working through a challenge makes you a better folder. Always look at the next step to see how the current fold is supposedto turn out. When you come across a complex collapsing step that involves multiple creases, it always comes down to just letting the paper do what it wants to do. In this book, the most onerous collapses are hidden once the model is finished, so just do your best to do it neatly and move on.
For complex models I oft en do a thing I call "putting it in the oven." I fold up to just before the point where the model becomes three-dimensional, and then stop to press the model flat by putting it under a pile of books overnight. This helps to really make the creases permanent so they tend not to unfold over time.
If you wish to wet-fold, save it for the final sculpting. Once you've finished the model, let it sit a day or two to see where wet-folding might be needed. I typically just wet-fold the thickest parts. A dab of water on the inner (non-visible) side of the crease will do. Once it's wet, pinch it flat with a paper clip or binder clip. Leave it dry overnight and remove the restraint the next day.
So here it is, my new collection of models. Happy folding!
JOHN SZINGER
Asian Elephant
For thousands of years these graceful, majestic, and intelligent creatures have been an important force in human civilization. Elephants make a particularly fun subject for origami. This model uses a variation on my Bear Base for the body, with a sculptural three-dimensional head. Feel free to vary the pose of the trunk.
Recommended paper: 12" square or larger. Two colored paper will yield color-reversed tusks.
Begin with a square, white side up.
1. Valley fold and unfold on the diagonals.
2. Kite fold and unfold on both ends. Turn the model over.
3. Valley fold three corners toward the middle.
4. Perform three rabbit ears, then turn the model over.