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 “AndyMallet™”, 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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Extracting Mulberry Fiber

| wonko

So I had this slightly crazy idea, based on the fact that my son in law (Andy) wanted to prune his small Mulberry tree after it had finished fruiting (apparently the possums are grateful for this years crop).

Figuring the fruiting mulberry (Morus alba or less commonly Morus rubra) is in the same family as the Paper mulberry (Broussonetia papyrifera = Kozo) I thought it would be fun to try and make paper from it. Kozo is known for glorious bast fibers (the inner bark) that is really suited to making fine strong paper. I can hear the experts screaming “don’t go there, it is the wrong plant”, but … meh, time to fuck around and find out.

As a test, I got a single branch, fresh off the tree, took it home and chopped it up into 30cm ish pieces (so they FIT in my pot) and soaked them overnight in water. Next day, using a small sharp knife, I nimbly removed the quills of bark off the sticks, noting how difficult this was, but not damaging myself. (this was not working smart … but I was exploring processes that could be scaled up). I cooked the quills in an old pot on the BBQ with waaaaay too much washing soda (I learned from this) until it was limp and soft, then rinsed, washed, separated the detritus from the inner silky but strong fibers and air-dried the tiny bundle.

I learned a LOT from the proto-twig.

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1163: Compleat II

| wonko

My second experiment in radial perpendicular pleating was based on a 30cm square of crispy Kraft paper, a regular 32 grid and a random number sequence:

I decided it would be interesting to see what happens when you use random numbers to control the collapse sequence for a micropleat corrugation based on a regular 32 grid of mountain folds. I typed “100 random numbers between 1 and 3” in google and blow me down but there was a website for that: https://numbergenerator.org/100randomnumbersbetween1and3

Each time you open that you get a new sequence. Mine was “3 2 3 1 2 3 2 2 2 1 2 2 1 2 2 3 3 3 2 1 1 3 2 3 1 1 1 3 3 1 1 3 1 1 2 1 2 3 3 1 2 3 3 1 3 1 2 1 3 2 2 1 2 3 3 1 1 1 1 1 1 1 2 1 1 3 1 2 1 1 1 2 1 2 1 1 1 2 2 1 3 3 3 2 3 1 2 1 1 3 1 3 1 3 2 3 1 3 1 2”.

Starting on the pleat just down from the centre line (in retrospect I wish I had started with the centre line, but… meh), I used the first 3 mountains and laid in micropleats (partial 128ths) across the sheet as uniformly as my fat clumsy, nerve damaged fingers would let me. I then rotated the paper 90 degrees clockwise, crossed out the first number and used the second number to determine how many cross-sheet micropleats to lay in. Rinse and repeat to the edge of the sheet.

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1162: Zen

| wonko

There are times when thoughts turn to the complexity of simplicity:

A few simple folds on an eccentric waterbomb base and you end up with a model that encourages deep contemplation, invoking a calm.

This is Pierre-Yves Gallard’s wonderful “Buddhist Monk”, folded simply (if not accurately) from a 15cm square of orange-white kami to simulate the otherwise vibrant saffron robes.

I am always delighted by how few folds it takes to evoke a human form – we seem innately able to recognise “people shaped” things, faces also.

A lovely exercise in restraint – this is my first fold, as I was discovering how to isolate the head and form the robes – I have no doubt subsequent attempts will be an improvement, but real life doesn’t give you a “re-do”, so here it is.

I posed it here with my Vietnamese soapstone dragon behind. The model is free-standing, it has a fold-back tab that makes it pretty stable. I like the the juxtaposition of the meditating monk playing against the hidden dragon in sharp focus, with the background blurring into obscurity.

I wonder if paper is folded in the forest and there is no one there to see it, does it remain as origami?

1161: Compleat I

| wonko

It is rare that an idea wakes me up – this one did.

I had a scrap of Kraft paper, tore the edges to make it roughly square, quartered it approximately and then began laying in a series of mountain folds starting off fairly close together, gradually getting further apart. I did this on all 4 axes from the centre. I COULD have been much more precise, but I decided to just wing it.

Now, having a series of mountain folds, i used each as the basis of a shallow pleat (by adding a new valley fold near the mountain but decided to do this in an organised way – starting in the middle, I made a pleat, then rotated the paper 90 degrees clockwise then did the next … rinse and repeat until you run out of mountains.

What emerged from the process was a deeply sculptural surface, with a subtle concave 3D structure.

The net effect of the process was also that the whole structure self-locked – ie. it stops itself unravelling by each additional pleat layer locking the previous one in place.

In my head, this then opens up a HUGE new field of exploration – the order in which I form pleats, how far apart they are etc are all delicious variables I must now explore.

This work is reminiscent of the glorious and textural work of @foldsome (Goran Konjevod), and I now completely understand his fascination with it.

I am so interested that even a scrap of kraft (junk paper I use to wrap other paper things) becomes something so luscious to look at – it also WANTS to be touched – some form of paper magic.

1160: Baby Penguin

| wonko

Browsing my collection of Tanteidan Magazines, as one does, I stumbled across a rather cute little baby penguin designed by Yoo Tae Yong that I had never tried:

I dug out a lovely sheet of Navy/White Yukogami from origami-shop, and began, carefully, laying in creases.

Yukogami is a deeply textured paper, making pre-creasing difficult as you cannot see your crease lines easily – for the finished model this is an absolute bonus, but during the actual folding this is a positive pain in the arse to be honest.

A relatively simple base leads to a careful collection of colour-change moves to isolate enough flaps to clearly define the face details, while surfacing enough white to do the body and isolate the flippers – all in all a genius design.

The final model is this plump, almost furry little penguin chick awaiting it’s next meal – fun fold.

1159: Polly Verity Corrugation

| wonko

Polly Verity is a paper artist I have watched since she came on Instagram (@polyscene)

She has a singular style and a seemingly superhuman touch when it comes to teasing character from paper – her paper silhouettes are like nothing else.

Polly is drawn to the geometry of plain paper, expertly capturing the light and shade that corrugated paper naturally causes.

Today she posted a corrugation that LOOKS curved, but as I bathed in it’s posted beauty, I recognized it had to be a much simpler underlying box-pleated crease pattern, and I knew that I HAD to try it.

Peeling off a 2:1 rectangle from my 90cm Kraft roll (90x45cm resultant sheet), I lay in a longitudinal axis gutter (valley), then added a deeeeep zigzag. This afforded the laying in of standard box-pleat fill-in creases that I then alternated mountain/valley to make the sheet one giant accordion pleat that folds up and on itself (resulting is a stored size that is tiny – 23x2cm).

The joy of this corrugation is that when it opens up, curves emerge from the straight lines – like by magic.

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1158: Wilhelmina the Wyvern

| wonko

Flipping through Makoto Yamaguchi’s “Origami Dragons Premium”, as one does, I stumbled across a lovely Wyvern, designed by Chuya Miyamoto:

Digging through my paper stash I found the perfect sheet for this model, a purple spotty Do paper that was part of a prize I won from Phạm Hoàng Tuấn’s Vietnamese origami paper shop pre-pandemic, so decided to give it a whirl.

My philosophy when approaching a super-complex origami design is based around “fuck around and find out” or more politely “fold until I finish or it fails”, and this model was a real treat.

A truly great design and fold sequence takes into account the material, not overly stressing it, managing accumulating layers and locking things together to keep things tidy. This design was so satisfying to fold, and in combination with the paper choice the resultant model is stunning.

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1157: Fairy Penwings

| wonko

I fell down an internet rabbit hole and stumbled across a Graeme Norton interview of Benedict Cumberbatch who, during a nature documentary commentary seemed singularly unable to say the word “penguin”:

I was approached by fellow Aussie origami designer Gary Fonarik to test his ‘Fairy Penguin” diagram. I fired up a 15cm blue/white square and completed his charming design. The result, to me, looks a lot like a penguin chick wanting to be fed by an exhausted parent.

Then Steven Casey, another Aussie origami designer asked me to try his (more correctly names “Little Penguin” as the scientific community has moved away from the Fairy label apparently).

Both design are charming, and I will add them to my growing flock of penguins. Fun instance of synchronicity.

1156: OnePiece Den Den Mushi

| wonko

One Piece aficionados know that a Den Den Mushi is a telepathetic snail used as an important communication device in-world:

Communicating via snail beings new meaning to the term “snail mail” but I remember seeing the snails in the Live-action remake and wondered if they existed as Origami.

To my delight, Tong Liu (G.T. Liu) designed one and released the diagrams in Bogota 2013’s conference booklet so I knew I needed to folded it.

I decided to try using some of my Kozo and Cotton paper that I made at Dion Channer’s Paper Mill in Gympie back in February 2024. The paper from this session was fairly soft and a little fabric-like (because, like, I really did not know what I was doing), but with a little TLC and some treatment it was perfect for this design.

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1155: Dasa Star

| wonko

Inspired by a friend and fellow folder (should out to @aboy021), I decided to throw a 60cm square at Alessandro Beber’s “Dasa Star”:

Carving a hexagon and laying in basic axial creases, initially the paper is collapsed into a tato (envelope) and then re-folded into a tato to form a pinwheel structure as the base.

Then, in a process reminiscent of the algorithmic fractal sequence of Shuzo Fujimoto’s “Hydrangea”, we go through processes of teasing paper until it is no longer free, then flipping over and feeding more paper through the middle structure in a “paper pump”, then flipping over and teasing again.

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1154: Glossy Black Cockatoo

| wonko

As part of my 5-Aussie Animal series, I present my Glossy Black Cockatoo:

As an endangered species, I am thrilled to be able to have a go at representing it in Origami. Reference images of the Cockatoo show it has a striking red flash in it’s tail features in an otherwise black bird.

Folding this model has shown me how hard it is to photograph such intense black paper.

Folded from a 60cm square of black Kozo with sugar cane inclusions – the resultant model has flecky shiny deep black, and is quite gorgeous. I rendered the red flash with red Kozo containing mango leaves – I laminated strips over the pleated tail feathers and am really happy with the result.

I decided to go with a “about to land” pose, so fashioned a wire stand with a ground outline shape that is meant to mimic the outline of the shadow of the landing bird – I think it works – what do you think?

After a lot of research looking for cockatoo origami diagrams, I found a diagrammed sequence designed and diagramed by Arthur Champigneul in the 2022 Origami de Bogota conference proceedings – this design forms the basis of my model – I have added some features and shaping to more closely align to the Glossy Black Cockatoo.

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