Hedgehog Algorithm

| wonko

Eric Joisel was a genius – his sense of fun and play was amplified by his seemingly accidental discoveries. He typified himself as a “bad folder”, but no one breathed life into paper quite like him. When cleaning out my display case, I chanced upon an ancient and beleaguered fold of an “adult” hedgehog, based on Joisel’s iconic design, and decided to fold a replacement:

Looking through notes Eric himself left about the “Baby Hedgehog”, I discovered his “design” was really an algorithm – do it on a 16 grid and you get a baby, do it on a 32 grid and you get an adult – it is an algorithm because the method of raising a quill is repeated along a row. The method of adding another rank of quills is the same. Baby hedgehogs have 5 ranks of quills, an adult had 9. The leg formation, head and tail formation on both models is the same … the instructions are algorithmic.

I set about using some of a red roll I bought off Amazon (for something else, then changed my mind) – it is a scant 60cm square. It is red both sides, and takes folds quite well. You lay a 16 grid or alternate mountain/valley folds. then Diagonal grids alternating mountain and valley – this has the side-effect of, mostly, orienting all the creases you need for the base correctly. Nice.

The first rank of quills to set is the middle line. You lay as many pre-rank pleats as the model dictates before forming the first row of quills, then, it is a simple zig zag squash/collapse. Raising subsequent ranks all use the same method – popping points by liberating an internal pleat and reversing a point that is hugging the previous line of quills.

I remember being bamboozled by the collapse back when I first did it over a decade ago, but with experience you can see the process, anticipate what needs to mode and achieve each point without stressing the surrounding paper- very satisfying. Once all ranks of quills are raised, the side fans are box-pleated in half to form front/back legs. You then do something Joisel terms “True 3D”, where the body is curved via gentle stretching of the points – this subtly alters the inner gussets and locks the body in a domed shape – it takes time and a gentle tough not to distort and damage the paper – the effect is lovely however.

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1173: The Eye of Horus

| wonko

The masters of 2D side-on imagery, Ancient Egyptian Hieroglyphics and associated artefacts have always fascinated me:

This is Peter Bucan-Symons’ design, represented as a 2D colour change model (a genre that has had a recent surge of popularity), and folded from a 25cm square of Green/Gold Washi Deluxe.

This design is part of Peter’s forthcoming book “Folding Fantasy 3”, a collection of stunning complex original works, coming soon to a bookstore online.

I have not folded many 2D colour change models, but love the angular geometry, truly reminiscent of all artefact representations. The Eye of Horus is a left eye in a pair of Wedjat eyes. The right eye is the Eye of Ra, and often in modern illustration presented mirrored, curiously.

https://egyptplanners.com/eye-of-horus-vs-eye-of-ra/

Designing 2D colour change models is a specialised skill, manipulating and utilising raw edges (typically) in exotic and torturous ways.

https://www.livescience.com/archaeology/ancient-egyptians/what-is-the-ancient-egyptian-eye-of-horus-and-why-is-it-found-in-so-many-burials

This was a fun sequence, and would be easier on larger thinner paper. I found the pre-creasing folds on the Washi Deluxe disappeared, so it was harder than it would be on less textured paper.

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1173: Scarab Amulet

| wonko

I have always found ancient Egyptian symbology and art fascinating. Their attention to high graphic detail, the use of natural elements in depictions of deities, the use of gold and gemstones sublime. When I first saw the diagrams for Peter Bucan-Symons astonishing “Scarab Amulet”, I knew I needed to fold it.

From his forthcoming book “Folding Fantasy 3”, it is one of the many stand-out designs that are so terrifyingly complicated but so enticing. As part of his edit team, I also had the rare privilege of test-folding it before it has reached “the wild” as it were.

From a single 90cm square of Kraft (I keep a 90cm and a 60cm roll of Kraft in my stash all the time, they are my goto test-fold papers), via initial hex-pleat pre-creasing, we fold a many-lobed base that is then thinned, subdivided and refined to isolate, skillfully, all the necessary stickey-outey flaps in the right places.

Designing said bases is complex (at the moment beyond my feeble brain), but I like how PBS takes the time in this book to explain his methodologies, requirements and compromises for a whole bunch of the models in the book – a fantastic reference volume indeed.

Once all the flaps were isolated, the process of refining (thinning and shaping) them could begin. With so many required points, the layers really add up – managing that thickness is a real achievement. Thinner paper would help – indeed I am sure there are folders out there way more nimble fingered than me who could take it smaller, but you would need to really consider the paper choice here. Paper needs to be thin and tough (there is a LOT of sinking), it must also allow you to reverse folds cleanly (unlike a lot of laminated papers and foils that leave bunched up “kinks” when you reverse the direction of a fold).

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1172: Storylines

| wonko

When asked to be part of the Papermakers and Artists QLD “On A Roll” Gallery exhibit, my first thoughts of a “scroll-like” object I could make was always going to be something relating to my current passion – Mulberry paper – Kozo.

I had, in previous posts, explored the harvesting and cleaning, beating and use of White Mulberry and Paper Mulberry pulp from twig to finished sheet. A consequence of processing a sheath of White mulberry was a collection of lovely white sticks without their bark. Experimenting what I could do with them, I discovered they accepted soft graphite pencil really well.

A scroll, to me, tells a story. Story telling is something that humans have always done, ever since they evolved the ability to communicate. Lots of cultures evolved oral traditions (spoken word), more developed repeatable symbology that evolved into alphabets and written communications. I was determined to explore ancient and modern story telling, with the idea that “Once upon a time” was a concept that has begun every story, in one form or another.

I began collecting different representations of the concept of “once upon a time”, and included Arabic, Burmese, Cantonese, English, Greek, Hebrew, Hindi, Japanese, Khmer, Korean, Lao, Maori, Mongolian, Nepali, Persian, Punjab, Sanskrit, Tamil, Thai, Tibetan, Urdu, Yiddish scripts that expressed this concept. Using a soft pencil, I transcribed (as faithfully as I could) these scripts, one per stick onto the twig bundle – interesting some used left to right, others right to left.

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1171: Doomscrolling

| wonko

If you have been paying attention, you would know i am a member of PAQ – Papermakers and Artists of Queensland. in 2025 we are mounting an exhibition that explores contemporary interpretations of the scroll, entitled “On a Roll”. I decided that I wanted to mount a FOLDED scroll as one of my submissions, and envisaged a massive tessellation:

I needed a theme, and a style. For a theme, I decided to try and “tell” the progression of the first year of the recent Covid-19 pandemic … because I could see a sequence of “blossoming” outbreaks that progressively “break” regular society.

The style choice was more complex – I love the aesthetic of Lacquerware – the Chinese/Japanese technique of covering simple materials in coatings of red lacquer, texture and patterns. I also wanted to have hints of “Kintsugi” – the Japanese technique of fixing broken pottery using lacquer and gold.

I chose red/natural Kraft paper because the red reminded me of the lacquer aesthetic, and the natural grounds the work in a common/everyday material. I selectively also introduced gilded elements into the finished folded work – symbolising the “patching” of the broken world – I went for a really minimal touch here, arguing less is more. Read further….

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1170: Artichoke

| wonko

As a palette cleanser in-between gallery projects, I turned to my “must fold” pile and decided to have a crack at PRWorigami’s “Artichoke” Kusudama:

Vaguely resembling Xander Perrott’s “Conglomerate” in overall model morphology, the two designs are really different. “Artichoke” has deepish pockets and tabs, with friction locks whereas Xander’s has much more positive locking – multiple locks per unit.

The folding sequence relies a lot on alignment, making the risk of inaccuracies pretty high – certainly I got better at consistently folding angles as the unit production line progressed, but the points here rely on precision, getting pointy tidy points here is difficult.

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1169: Xander Perrott’s “Conglomerate”

| wonko

Multi-unit Kusudama folding is something I enjoy – the emergent geometry and intricate interlocking of units to make a whole is very satisfying. None more than “Conglomerate” designed by Xander Perrott:

When I saw his fold on insta I knew I wanted to fold it – I had not seen anything quite like it, so I reached out to Xander and he shared instructions – how wonderful is the internet?

Let’s break this down – the kusudama is composed of 30 units, each folded from a rectangle in the proportions of 1: sqrt(3). Each unit has a triangle grid imposed on it, with triangular gussets to allow the “facets” of the faces to become 3D.

The geometry of the unit is very pleasing to fold, it all feels really natural, and the tiny collapse of the unit to make it 3D also feels right.

Interlocking the units …. now that seems to have taken me an age – each unit cups around one lobe and inside another lobe, forming a many-layered, staggered icosahedrons – each locked into place at multiple anchor points. It took me a while to master the locking process, then re-learn it as the orientation turned this way and that, but this kusudama needs no glue, and when a unit is fully locked in it is really rigid and strong.

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1168: Cotton-top Tamarin

| wonko

As a once obsessed biology teacher, I am very interested in critters that are distant relatives – in this case the group of “New World Monkeys” contain some astonishing and cute members – few cuter or more critically endangered than the Cotton-top Tamarin:

Origami primates are fairly rare, but the more exotic specimens hardly ever get a representation. It was wonderful to see that in a soon to be published book “Origami Oddities”, by Kunsulu Jilkishiyeva that this Tamarin was designed so thoughtfully by her.

Test folded from a 45cm square of peach/natural matt Damul Kraft paper from origami-shop.com, the sequence is fun, tricky and contains some very satisfying collapses.

There is heaps of opportunity to go nuts with the shaping here, as the head is expressive (yet has no facial features – yet), the hands are fully fingered, the back legs in the original design were points (I rendered them more as paws), the tail is lovely and lively, the “cotton top” is fun.

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1167: Aye Aye

| wonko

Primates are a diverse collection of animals that contain us hominids, apes and a variety of “monkey-like” critters. One of the most primitive, obscure and endangered is a type of Lemur, native to Madagascar, called the Aye Aye:

Largely nocturnal, and generally feared because of it’s slightly crazed appearance and creepy long fingers, apparently it uses its fingers to reach into decaying wood to pluck out juicy grubs – yum. I had never seen anything like it rendered in origami until I was proofing a soon to be published book by Kunsulu Jilkishiyeva titled “Origami Oddities”. I knew I had to try it.

Using a 45cm square of Damul Kraft (from Origami-shop) in brown/natural, the pre-creasing was fairly straight forward, the first collapse is complex (an “everything at once” style collapse I love). Isolating the features is pretty straightforward, but this is not a beginners fold, it contains some deliciously complicated maneuvers.

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1166: Year of the Snek

| wonko

Doom-scrolling on Insta, as you do, I came across an astonishing reel by Kimiro, featuring a new design for a snake resting on a branch.

I was determined to fold some version of this design, but knew I did not have the paper (large enough) or the patience for a 128 grid (with partial 256ths) grid-based scaled-shaped model. So I scaled down – working out the minimum size scale I could reasonably shape consistently, then working out how much of a 70cm square duo sheet of Kraft would be the snake.

The design is ingenious – an 8-grid strip down the diagonal of a square becomes the snake, the rest of the paper becomes the colour-changed branch. One consequence of re-scaling the snake was that the paper allocated to the branch diminished to barely protruding from the snake’s body – so I thought “fuck it” and tucked it inside (like the layers of waste paper in a Ryujin) to give the body bulk, allowing me to fashion a lower jaw and forked tongue.

Another consequence of re-factoring the snek was that it’s overall length is diminished to almost comic proportions. This little guy is a grower, not a shower, indeed.

Accepting that the project was cursed from the beginning (by my lack of commitment 😛 ) I decided to just go for it, treating the fold as an exercise in precision. Pre-creasing took an age, then scale collapse went smoothly. I then pre-creased all the scale-shaping also took an age, not nearly as long as the actual scale-shaping however. My Ryu Jin 3.5 PTSD returned at times, causing me to walk away from the project a few times.

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Just a Guy Holding a Crane

| wonko

I was cleaning some cooked Paper Mulberry (Broussonetia papyrifera) bark, scraping the outer layers that was outer bark and the remnants of the dried up fleshy parts of the plant, and a thought occurred to me. The residue was really fibrous – what would paper even look like made from this waste?

Given I had the time, equipment and curiosity to fuck around and find out, I hand-beat the residue, rinsed the pulpy mess until it was clean, and then divided the ball into 3, figuring (via guestimation) that 1/3 of the blob was enough to make an A3 sheet.

I took 1/3, added it to a bucket of water and agitated it vigorously to breakup and disperse the fiber uniformly through the water. Then, using a rectangular chinese food container, I gently ladled the really watery pulp onto my new A3 Mold and Deckle, in the lid of my new vat. Taking the time to distribute the fibre evenly and thinly. When all the fiber was gone, I couched the resultant sheet onto glass, then added some smooth poly-cotton sheeting material as a layer to isolate the sheet, then added a flanellette layer, another poly-cotton sheet material layer and then repeated the sheet formation process another 2 times.

Topped off the “post” with another layer of flannelette, and a top sheet of glass. Putting this sandwich on an angle to encourage the drips onto the floor drain, I then added a besser block to add firm squishing pressure, and left it to drip overnight. I must engineer a paper press that is more consistent.

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WM02 – An Art Piece?

| wonko

Those following my socials will have seen that i was quite excited with an idea and it’s execution – a rare 1-2 whammy with me:

Having made Mulberry Washi, I was trying to decide what i wanted to do with it. I think the larger sheets are currently sheet pulp storage I will re-beat and incorporate into other sheets, but sheets 1 and 2 (names WM01 and WM02 – my nomenclature) I wanted to keep…because.

WM01 is barely there mulberry tissue – I will not fold it, but it is fascinatingly strong. WM02 on the other hand is almost a sheet of paper – thin, lovely deckle edges and loads of character.

I had this idea, based in part on my extensive folding from one of the oldest origami books there is – Senbaruzu Orikata. The idea of a traditional Tsuru (crane – the one everyone including me learns first) still connected by a wing-tip to the surrounding paper began to eat away at me (originally the idea woke me up).

Folding connected cranes is all about the prep, so as not to put too much strain on the part that joins – a single point of failure. Exploring the sheet, I searched my origami squares collection and found that an 11.7cm square could be placed, avoiding the holes and weirder bits, so decided on that size arbitrarily. I also liked how much of the sheet would be untouched, and reasoned I would need it to attach to a backboard if it were to be framed… but I am getting ahead of myself – I had no idea if I could fold or work the sheet at all.

In pencil, I traced the square as accurately as I could, then carefully with a scalpel liberated all 4 edges nearly to each corner so I could see the square border, then gingerly began laying in the pre-creases of a “bird base”. To my absolute delight the paper took sharp creases with NO fatigue. Knowing how the bird base was going to collapse it allowed me to place the necessary pre-creases ONCE, and in the right orientation (mountain or valley).

Once the pre-creasing was done, I then went and liberated 3 of the 4 corners (no turning back now) and collapsed and shaped the Tsuru with no real drama – just being careful of the single remaining attached corner.

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1165: Kamillen – A Lovely Sunflower Ball

| wonko

I wish I remember where I found the “short” describing the unit folding for this lovely “sunflower ball”:

At the time, I practiced and learned the unit, modified it a little (removing the colour-change spiral) and then, a few weeks later decided to fold the whole thing. As I made progress in construction I realised I had NO IDEA whose design it was.

I turned to one of the many online origami communities I am a member of, and posted progress shots – fortunately it was identified as “Kamillen” designed by Irina Krivyakina.

I decided to hide the part colour change flap that causes a central spiral on each face, because I loved the shape of the geometry and thought the spiral detracted from it (my opinion only – I … have regrets).

Folded from 30 units, I decided to fold some of the 7.5cm square kami I have loads of … and … if I was to fold it again I would go bigger. The units have a lovely crenellated face, the tab-pocket mechanism is very fiddly but, when locked correctly, really positive.

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White Mulberry Sheet Formation TLDR

| wonko

…so, having liberated 110g (dry weight) of bast fiber from a lovely bunch of Andy’s mulberry tree prunings, it was time to do something with it. I decided to use half (55g), and added it to a plastic container and added a little water to re-hydrate it.

Using the patented “AndyMalletâ„¢”, and a recently purchased Ikea bamboo chopping board wrapped in an old pillowcase, I began whacking the re-hydrated pulp using the hardwood edge of the mallet. The shaping of the mallet is perfect, so much mechanical advantage that the fiber was squished in no time.

After about 15 mins of beating, I did a “suspension test”, decided another 5mins was needed and whacked on for another 5ish minutes. BEATING fiber frays the cellulose tubes, allowing complex interlinking of adjacent fibers.

With a tub of “fluffy” beaten fiber, kept in suspension with Okra slime, it was time to try forming some sheets.

My setup was very basic, and after experimenting with the only “vat” like container I had, I abandoned the conventional “pulling” of sheets in favour of the “pour over” method as a means of testing the pulp properties.

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1164: Kimiro’s Ammonite

| wonko

With the development of origami design tools like Oriedta and Mu-Tsun Tsai’s astonishing “Box Pleating Studio”, origami design has in recent years gone through an explosion of complexity, innovation and artistry:

When I first saw Kimiro‘s new design for an Ammonite, I was astonished, then further amazed when he released the crease pattern – I knew I had to give it a try.

Ammonites are long extinct cephalopods (squiddy things) that lived in coiled shells – these shells are quite common fossils ranging from tiny (a few cm across) to massive (a couple of meters in diameter). Their closest living relative is the Nautilus I think. It is believed they, like the nautilus, could vary their buoyancy to control how deep they were in the ocean, and they probably had siphons that allowed them a little jet-propulsion.

Box pleating, by nature, results in blocky bases, the challenge is to make them feel rounded and organic. This model’s design has a good balance of fine detail and larger surface, and modelling and shaping it has taken me an age.

Initially I was sure the shell was fully closed 3D, but after posting some collapse and shaping progress photos on Origami Dan Discord, Kimiro himself popped into my DMs and showed me the back of his model – a half shell solved sooooo many problems. How amazing is it that in the age of the internet communication with the designer is actually possible. It continues to blow my mind how accessible origami legends are, and how helpful they are to noobs like me also.

I chose a lovely 45cm sheet of green/natural Damul matt Kraft paper (toying briefly with the idea of throwing shadow thai at it, but reasoned that I did not want a black shell or critter).

Laying in the grid was easy – finger pressure only (no bone-folded setting this time, as I wanted the creases to be as unobtrusive as possible), the CP is pretty simple, the shell spiral a lovely piece of geometry allowing a colour change.

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