BOS Convention Book Cadburys Bournville, Birmingham
27-28 March 2010
In honour of
Eric Kenneway
on the 80th anniversary of his birth
.
British Origami Society 2010 Model Collection Cadbury’s Bournville Place and York St John University
Edited by Tung Ken Lam and Mark Bolitho
Contents The Models
1
1 Simple 1.1 Wrapped Letter by Ulrike Krallmann-Wenzel . . . 1.2 Iris Letterfold by Elsje van der Ploeg . . . . . . . 1.3 Caixa by Pessoa and Grzybowski . . . . . . . . . 1.4 Porta L´apis by Suzana Shintako . . . . . . . . . . 1.5 Eviphant by Evi Binzinger . . . . . . . . . . . . . 1.6 Throwing Start / Spinning Top by Evi Binzinger 1.7 Garden Coaster by Loes Schakel . . . . . . . . . . 1.8 Mask by George Ho . . . . . . . . . . . . . . . . . 1.9 XO Secret Note by Sy Chen . . . . . . . . . . . .
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1 2 3 5 7 8 9 10 15 16
2 Intermediate 2.1 Skull by Kastlunger Anna . . . . . . . . . . . . 2.2 Ben Gurion by Gilad Aharoni . . . . . . . . . . 2.3 Minotaur by Gilad Aharoni . . . . . . . . . . . 2.4 Duck by Shinde Swapnil . . . . . . . . . . . . . 2.5 Postcard with a Rooster by Olga Soukharevsky 2.6 Postcard with Iris Flower by Olga Soukharevsky 2.7 Mouse by Yong Ma . . . . . . . . . . . . . . . . 2.8 Butterfly by Yong Ma . . . . . . . . . . . . . . 2.9 Bindweed Flower by Sanja Cucek . . . . . . . . 2.10 Bindweed by Sanja Cucek . . . . . . . . . . . . 2.11 Robin by John Montroll . . . . . . . . . . . . . 2.12 Horny Spider by Marc Vigo . . . . . . . . . . . 2.13 Female and Male Condors by Aida Urrutia . . . 2.14 Sitting Dog by Aida Urrutia . . . . . . . . . . . 2.15 Sea Urchin Card by Hans Birkeland . . . . . . . 2.16 Baby Elephant by Artur Biernacki . . . . . . .
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17 18 21 23 25 28 29 30 33 37 39 43 46 49 53 56 61
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3 Complex 66 3.1 Rabbit by Victoria Serova . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 3.2 Velociraptor by Fernando Gilgado . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 3.3 Quetzalcoatlus by Fernando Gilgado . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 4 Spring Guest 92 4.1 My Memories by Mick Guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 4.2 The Origami Books of Eric Kennewa by Tung Ken Lam . . . . . . . . . . . . . . . . . 95 4.3 Mount Fuji by Eric Kenneway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 iv
CONTENTS 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12 4.13 4.14 4.15 4.16
CONTENTS
Girl: Head and Shoulders by Eric Kenneway . . Flower by Eric Kenneway . . . . . . . . . . . . Instant 2 x 1 Solid Rectangle by Eric Kenneway Jewellery Box by Eric Kenneway . . . . . . . . Mask with Moving Eyes by Eric Kenneway . . . Fangs for the Memories by Eric Kenneway . . . Directional Finger by Eric Kenneway . . . . . . Trees on a Hillside by Eric Kenneway . . . . . . Basic Mask 4 by Eric Kenneway . . . . . . . . . Basic Mask 5 by Eric Kenneway . . . . . . . . . Richard Nixon by Eric Kenneway . . . . . . . . William Shakespeare by Eric Kenneway . . . . . Dr. Schweitzer by Eric Kenneway . . . . . . . .
5 Autumn Guest 5.1 Square Flower by Roman Diaz . . 5.2 Maple Leaf by Roman Diaz . . . 5.3 Goldfish by Roman Diaz . . . . . 5.4 Reef Fish by Roman Diaz . . . . 5.5 Smiling Frog by Roman Diaz . . . 5.6 Panda Bookmark by Roman Diaz
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Index
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98 99 100 101 102 103 105 106 107 108 109 110 111
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115 116 119 121 123 127 129
131
v
CONTENTS
Intermediate
Simple +
&'
&
%$ #$
)* '("
!"
Wrapped Letter Ulrike KrallmannWenzel, 2
Iris Letterfold Elsje van der Ploeg, 3
Caixa Pessoa and Grzybowski, 5
Porta L´apis Suzana Shintako, 7
Eviphant Evi Binzinger, 8
Throwing Start / Spinning Top Evi Binzinger, 9
Garden Coaster Loes Schakel, 10
Mask George Ho, 15
XO Secret Note Sy Chen, 16
Intermediate
Skull Anna Kastlunger, 18
Duck Shinde Swapnil, 25
Ben Gurion Gilad Aharoni, 21
Minotaur Gilad Aharoni, 23
Postcard with a Rooster Olga Soukharevsky, 28
Postcard with Iris Flower Olga Soukharevsky, 29
vi
CONTENTS
Mouse Yong Ma, 30
Bindweed Sanja Cucek, 39
Female and Male Condors Aida Urrutia, 49
Spring Guest
Butterfly Yong Ma, 33
Robin John Montroll, 43
Sitting Dog Aida Urrutia, 53
Bindweed Flower Sanja Cucek, 37
Horny Spider Marc Vigo, 46
Sea Urchin Card Hans Birkeland, 56
Baby Elephant Artur Biernacki, 61
Complex
Rabbit Victoria Serova, 67
Velociraptor Fernando Gilgado, 72
vii
Quetzalcoatlus Fernando Gilgado, 81
CONTENTS
Spring Guest
Spring Guest
My Memories Mick Guy, 93
Girl: Head and Shoulders Eric Kenneway, 98
Jewellery Box Eric Kenneway, 101
Directional Finger Eric Kenneway, 105
Basic Mask 5 Eric Kenneway, 108
The Origami Books of Eric Kennewa Tung Ken Lam, 95
Mount Fuji Eric Kenneway, 97
Flower Eric Kenneway, 99
Instant 2 x 1 Solid Rectangle Eric Kenneway, 100
Mask with Moving Eyes Eric Kenneway, 102
Fangs for the Memories Eric Kenneway, 103
Trees on a Hillside Eric Kenneway, 106
Basic Mask 4 Eric Kenneway, 107
Richard Nixon Eric Kenneway, 109
William Shakespeare Eric Kenneway, 110
viii
CONTENTS
Dr. Schweitzer Eric Kenneway, 111
Autumn Guest
Square Flower Roman Diaz, 116
Reef Fish Roman Diaz, 123
Maple Leaf Roman Diaz, 119
Goldfish Roman Diaz, 121
Smiling Frog Roman Diaz, 127
Panda Bookmark Roman Diaz, 129
ix
Chapter 1 Simple
1
1.1. WRAPPED LETTER BY ULRIKE KRALLMANN-WENZEL
SIMPLE
Wrapped letter Design and diagram by Ulrike Krallmann-Wenzel
fold behind
r pe
To
and tuck the flaps into the pockets try to find variations
rs e ld
fo
pa
2
1.2. IRIS LETTERFOLD BY ELSJE VAN DER PLOEG
3
SIMPLE
1.2. IRIS LETTERFOLD BY ELSJE VAN DER PLOEG
4
SIMPLE
1.3. CAIXA BY PESSOA AND GRZYBOWSKI
SIMPLE
02
25,5cm
01
2,5cm 22,5cm
03 04
2cm
05
06 07 2cm 2cm
5
1.3. CAIXA BY PESSOA AND GRZYBOWSKI
08
SIMPLE
09
10
11
12 13
6
´ 1.4. PORTA LAPIS BY SUZANA SHINTAKO
SIMPLE
7
1.5. EVIPHANT BY EVI BINZINGER
SIMPLE Eviphant
Action model
This model is created for colored square paper, weight about 60-70 g/m². Paper size: 15 x 15 cm
1
4
Start with white side up. Valley fold, open.
Head
Valley fold.
Head
Tail
6 Tail
cm
7
8 Enlarged view.
Tail
Enlarged view.
Rotate.
9 Inside reverse fold tail.
Soft bend, no crease.
12 Valley fold legs. Make the ears 3D. Repeat behind.
Valley fold.
Head
4 1,
5
created 03/2009 and diagrammed 06/09 by Evi Binzinger / Germany
3
2
©
Inside reverse fold both corners and outside reverse fold tail.
10 Fold first layer to the left. A little bit more than third of the bottom.
13 Inside reverse fold trunk.
15 Tuck front leg into hidden pocket underneath. Precrease back.
8
11 Repeat behind.
14 Inside reverse fold trunk.
16 press on to the back, while holding the feet together, to move the trunk a little bit.
1.6. THROWING START / SPINNING TOP BY EVI BINZINGER
SIMPLE
Evi`s throwing star or spinning top©
11/09
Author of the model and diagrams: Evi Binzinger
First version - raw sketch I dedicated this star to Friedrich Froebel, who lived from 1782 to 1852 in Germany. Start with a square piece of paper. Valley folds are red, mountain folds blue, for better understanding.
1. Valley fold and open again.
2. Precrease and open again.
3. Precrease and collapse.
Enlarged view
4. Collapse by folding edges to the middle. Fold model flat like a windmill.
5. Turn model.
1
4
2
4
7. To lock the model,the fourth flap is woven through the flaps underneath. 3
6. Valley fold flaps to the other side. Start with flap number one, continue clockwise.
9
8. Done. You can also use it as a spinning top by inserting a toothpick.
1.7. GARDEN COASTER BY LOES SCHAKEL
SIMPLE
Garden Garden Coaster Coaster A A 1
16-07-1999 [ontw_024-A]
2
3
LS
for backside I
5
6
4
LS
unit complete make 6
7
Frontside
join all units similarly
Backside I C
Model: Loes Schakel
[The Netherlands]
Page 1 of 5
10
C
Diagrams: Kees Schakel
1.7. GARDEN COASTER BY LOES SCHAKEL
SIMPLE
Garden Garden Coaster Coaster A A
16-07-1999 [ontw_024-A]
Variations Variations A1, A1, A2 A2 and and A3 A3 Variation A1
Frontside A1
Variation A2
Frontside A2
Variation A3
Frontside A3
C
Model: Loes Schakel
[The Netherlands]
Page 2 of 5
11
C
Diagrams: Kees Schakel
1.7. GARDEN COASTER BY LOES SCHAKEL
SIMPLE
Garden Garden Coaster Coaster A A
16-07-1999 [ontw_024-A]
Variations Variations A4 A4 and and A5 A5 Variation A4 2
1
lift top layers
3
repeat 5 times
Frontside A4
Variation A5
Frontside A5
C
Model: Loes Schakel
[The Netherlands]
Page 3 of 5
12
C
Diagrams: Kees Schakel
1.7. GARDEN COASTER BY LOES SCHAKEL
SIMPLE
Garden Garden Coaster Coaster A A
16-07-1999 [ontw_024-A]
Variations A6 and A7 Variation A6 2
1
lift top layers
3
Frontside A6 repeat 5 times
Variation A7
Frontside A7 C
Model: Loes Schakel
[The Netherlands]
Page 4 of 5
13
C
Diagrams: Kees Schakel
1.7. GARDEN COASTER BY LOES SCHAKEL
SIMPLE
Garden Garden Coaster Coaster A A
16-07-1999 [ontw_024-A]
Variations Variations A8, A8, A9 A9 and and A10 A10 Variation A8
Frontside A8
Variation A9
Frontside A9
Variation A10
Frontside A10 C
Model: Loes Schakel
[The Netherlands]
Page 5 of 5
14
C
Diagrams: Kees Schakel
1.8. MASK BY GEORGE HO
SIMPLE
15
1.9. XO SECRET NOTE BY SY CHEN
SIMPLE
1998-2010 Sy Chen
XO Secret Note (XO III) Designed on 10/9/1998 and diagrammed in 2/2010.
2.
1. Start from a duo-color square with XO color side facing up; Fold and unfold.
4.
7.
3. Leave a gap to the center. The gap distance will determin the final XO stroke width.
6.
5.
11. Enlarged view. Inside reverse the lower right end.
10.
9.
8.
12. The "O".
16
13. The "X".
Chapter 2 Intermediate
17
2.1. SKULL BY ANNA KASTLUNGER
INTERMEDIATE
Skull
40
100
Design & Diagrams by Anna Kastlunger
100
(March 2007)
This is a rather old design of mine designed for the first Monthly Folding Challenge we had on the Origami Forum. The subject was “Human Skull”. The model is based on Kunihiko Kasahara’s Panda-Head. It’s still one of my favourite models I’ve come up with so far. I recommend to use Foilpaper for this model since it will be easier to shape in the end, although it is possible to get a pleasing result with Kami as well.
30
2. Fold and unfold. Turn the paper over. 3. Valley fold.
1. Fold and unfold.
4. Mountain fold the sides in half, leaving the upper layers unfolded.
5. Turn the model over.
6. Fold the little square in half. 9. Valley fold.
8. Fold and unfold from corner to corner. 7. Squash fold like indicated. http://www.origamiaustria.at/
Page 1 / 3
18
2.1. SKULL BY ANNA KASTLUNGER
INTERMEDIATE
12. Valley fold and unfold as far as possible.
11. Open sink in half, up to the hidden tip.
13. Inside reverse fold.
10. Valley fold.
14. Precrease Crimp.
16. Bend the uppermost flap to the side as far as possible but don’t make a Crease.
15. Valley fold the big flap up.
19. Mountain fold a tiny bit of paper inside.
17. Valley fold. 18. Close the flap back up and repeat steps 16-17 on the other side.
http://www.origamiaustria.at/
Page 2 / 3
19
2.1. SKULL BY ANNA KASTLUNGER
INTERMEDIATE
21. Like this. Turn the model over.
22. Valley fold so that the marked edge meets the middle line.
M 20. Valley fold the top tip and crimp as shown.
V
23.Fold along the Creases made in step 14 while mountain folding the huge flap backwards.The upper Crease intersection should lead to a Mountain Area (convex) while the lower Crease intersection should end in a Valley Area (concave). From now on the model remains 3-Dimensional. 24. Valley fold.
25. Valley fold, then turn the model over.
28. Done!
26. Free the lower layer and tuck it into the pocket. Repeat on the other side.
27. Shape with soft mountain folds.
http://www.origamiaustria.at/
Page 3 / 3
20
2.2. BEN GURION BY GILAD AHARONI
INTERMEDIATE
David Ben Gurion
c Gilad Aharoni (Israel) 2000
Intermediate A 15cm (6 inch) square makes a 5cm (2 inch) tall model.
2. Crease angle-bisectors on top layer and collapse.
1. Start with a square, colored side up. Valley-fold in half.
4. Valley-fold sides to center.
3. Mountain-fold tip. Turn over.
5. Valley-fold corners.
6. Valley-fold sides to center.
21
7. Inside reverse-folds.
2.2. BEN GURION BY GILAD AHARONI
INTERMEDIATE
David Ben Gurion (Page 2)
8. Valley-folds.
12. Pleat nose, tucking the tip inside top pocket.
15. Mountain-folds.
9. Valley-folds.
11. Valley-fold.
10. Turn over.
13. Valley-fold.
14. Small pleats to create ears.
16. To shape the hair, push corners in, while making the hair 3D and shaping it. Shape eyes.
David Ben Gurion 1886-1973 First Prime Minister of the state of Israel
Visit WWW.GILADORIGAMI.COM for more!
22
2.3. MINOTAUR BY GILAD AHARONI
INTERMEDIATE
Minotaur Head
c Gilad Aharoni (Israel / MA) 2008
Low-intermediate A 15cm (6 inch) square makes a 5cm (2 inch) tall model.
2. Crease angle-bisectors on top layer and collapse.
1. Start with a square, colored side up. Valley-fold in half.
4. Valley-fold sides to center.
3. Mountain-fold tip. Turn over.
5. Valley-fold sides to center.
6. Valley-folds.
23
7. Outside reverse-folds.
2.3. MINOTAUR BY GILAD AHARONI
INTERMEDIATE
Minotaur Head (Page 2)
8. Turn over.
11. Curved shaping.
10. Pleat nose, tucking the tip inside top pocket.
9. Valley-fold.
12. Valley-fold mouth up.
13. Shape eyes and horns.
Minotaur Head
Visit WWW.GILADORIGAMI.COM for more!
24
2.4. DUCK BY SHINDE SWAPNIL
INTERMEDIATE
DUCK - Mr. Swapnil Shinde. India.
1. 2.
3.
5.
4.
8. 6. 7. 25
2.4. DUCK BY SHINDE SWAPNIL
9.
INTERMEDIATE
10. 11.
14.
12. 13.
15. 18. 16.
17. 26
2.4. DUCK BY SHINDE SWAPNIL
INTERMEDIATE
20.
19.
21.
22.
© Swapnil Shinde. 2009.
27
2.5. POSTCARD WITH A ROOSTER BY OLGA SOUKHAREVSKY
28
INTERMEDIATE
2.6. POSTCARD WITH IRIS FLOWER BY OLGA SOUKHAREVSKY
29
INTERMEDIATE
2.7. MOUSE BY YONG MA
INTERMEDIATE
30 PDF 文件使用 "pdfFactory Pro" 试用版本创建 www.fineprint.cn
2.7. MOUSE BY YONG MA
INTERMEDIATE
31 PDF 文件使用 "pdfFactory Pro" 试用版本创建 www.fineprint.cn
2.7. MOUSE BY YONG MA
INTERMEDIATE
32 PDF 文件使用 "pdfFactory Pro" 试用版本创建 www.fineprint.cn
2.8. BUTTERFLY BY YONG MA
PDF 文件使用 "pdfFactory Pro" 试用版本创建 33 www.fineprint.cn
INTERMEDIATE
2.8. BUTTERFLY BY YONG MA
INTERMEDIATE
Unfold
PDF 文件使用 "pdfFactory Pro" 试用版本创建 34 www.fineprint.cn
2.8. BUTTERFLY BY YONG MA
PDF 文件使用 "pdfFactory Pro" 试用版本创建 35 www.fineprint.cn
INTERMEDIATE
2.8. BUTTERFLY BY YONG MA
PDF 文件使用 "pdfFactory Pro" 试用版本创建 36 www.fineprint.cn
INTERMEDIATE
2.9. BINDWEED FLOWER BY SANJA CUCEK
1. Precrease and fold into a base.
B I N D W E E D
Model and diagram by
INTERMEDIATE
2. Fold and unfold. Repeat on the other sides.
3. Tuck all the five triangles inside the model. For the two colour flower. For mono coloured flower fold the same triangles outside
4. Fold to the crease.
5. Fold all layers of the corner to the crease.
6. Fold the flap over to the crease.
Sanja Srbljinović Čuček
Bindweed 1
© Sanja Srbljinović Čuček, 2009
37
2.9. BINDWEED FLOWER BY SANJA CUCEK
B I N D W E E D
INTERMEDIATE
7. Precrease the indicated line. Repeat steps 4-6 on other four sides
8. Open the top in a swirllike fashion, using the creases made in step 7.
9. Top view. Round the tips back.
Finished flower.
Bottom view. Side view.
Bindweed 2
© Sanja Srbljinović Čuček, 2009
38
2.10. BINDWEED BY SANJA CUCEK
B I N D W E E D
INTERMEDIATE
1. Precrease and fold into a square base.
2. Precrease.
3. Squash fold.
4. Petal fold.
5. Fold the flap down.
6. Tuck the tip in.
L E A F
Model and diagram by Sanja Srbljinović Čuček
Bindweed Leaf 1
© Sanja Srbljinović Čuček, 2009
39
2.10. BINDWEED BY SANJA CUCEK
INTERMEDIATE
7. Repeat the steps 2-6 on the left flap.
8. Fold one flap to the right.
2-6
B I N D W E E D L E A F
7. Open the flap as far as possible.
8. Close the flap.
9. Inside reverse the little flaps and open the big flap again.
10. Turn the model.
Bindweed Leaf 2
© Sanja Srbljinović Čuček, 2009
40
2.10. BINDWEED BY SANJA CUCEK
INTERMEDIATE
11. Make a crease that will touch the intersection of folds beneath.
B I N D W E E D L E A F
12. Open the left flap. Repeat the previous crease on the right flap.
14. Refold on the existing creases. 13. Open out the model. Rotate.
15. Refold on the existing creases. Repeat on the left side.
Bindweed Leaf 3
© Sanja Srbljinović Čuček, 2009
41
2.10. BINDWEED BY SANJA CUCEK
INTERMEDIATE
16. Fold the model in half. Refold the small creases.
17. Make a closed sink. Let the model spread itself open.
B I N D W E E D
18. Trim the stalk and round the tips.
L E A F Finished leaf.
Bindweed Leaf 4
© Sanja Srbljinović Čuček, 2009
42
2.11. ROBIN BY JOHN MONTROLL
INTERMEDIATE
Robin
1
2
3
Fold and unfold.
4
Unfold.
5
Bring the edge to the crease.
6
Unfold.
44 Enjoy Origami Birds
Repeat steps 4–5 in the other direction.
Robin 55
43
2.11. ROBIN BY JOHN MONTROLL
7
INTERMEDIATE
8
9
Unfold.
10
11
Squash-fold.
12
Squash-fold.
13
14
Reverse-fold.
16
15
Reverse-fold.
17
Fold the layers together.
18
Fold and unfold.
44 Enjoy Origami Birds
Repeat steps 10–17 on the right.
Robin 55
44
2.11. ROBIN BY JOHN MONTROLL 19
INTERMEDIATE
20
21
Spread squash folds.
22
Fold in half and rotate.
23
Fold along some of the creases. Repeat behind.
24
Mountain-fold the layers together. Repeat behind. Make reverse folds to form the leg and wing. Repeat behind.
25
26
Thin the leg and repeat behind. Crimp-fold the head.
Shape the tail and repeat behind. Make reverse folds to form the head and beak.
27
28
Robin
Crimp-fold the feet and squash-fold the eyes. Repeat behind. The robin can stand.
44 Enjoy Origami Birds
Robin 55
45
2.12. HORNY SPIDER BY MARC VIGO
INTERMEDIATE
Created by Marc Vigo April 2009
Horny Spider
Page 1 of 3
= = =
111 Precrease diagonals 000 000 111 000 and medians. 111
1111 Rabbit ear. 0000 0000 1111 0000 1111
1
Open sink in thirds in & out. 1111 0000 0000 1111 3
2
111 Multi−reverse fold. 000 000 111 4
111 000 000 In process... 111 000 111 5a
1111 Multi−reverse fold 0000 0000 (outside). 1111 5
111 000 000 In process... 111 000 111 4a
111 Open sink first point. 000 000 Repeat for the 3rd point behind. 111 6
111 000 Open sink middle point, 000 111 000 only the one shaded. 111 7
1111 0000 Reverse fold. 0000 1111 0000 1111 8
46
111 000 Rabbit ear and unfold. 000 111 000 111 9
2.12. HORNY SPIDER BY MARC VIGO
INTERMEDIATE
Created by Marc Vigo April 2009
Horny Spider
Page 2 of 3
1111 Valley fold 0000 0000 1111 0000 and turn the model. 1111
1111 Valley folds. 0000 0000 1111 19
20
1111 Open sink a bird base. 0000 0000 1111 18
8−13
1111 Rabbit ear and unfold. 0000 0000 1111
1111 Fold a bird base 0000 0000 1111 0000 on the back. 1111
17
14
1111 Reverse fold. 0000 0000 1111 0000 1111 15
1111 0000 0000 Book fold to the rear point to the 1111 0000 right and one front point to the left. 1111 16
1111 Reverse folds. 0000 0000 1111 13
111 000 Squash fold. 000 111 000 111 12
Unfold one point. 111 000 000 111 10
Open & squash. 111 000 000 111 11
47
2.12. HORNY SPIDER BY MARC VIGO
Horny Spider
111 Valley folds. 000 000 111 000 111
INTERMEDIATE
Created by Marc Vigo April 2009
1111 Valley folds. 0000 0000 1111 0000 1111
21
22
Page 3 of 3
1111 Mountain fold. You’ll need 0000 0000 a small rabbit ear behind. 1111 23
1111 Curve the horns. 0000 0000 1111 0000 Rabbit ear the 8 legs, 1111 24
spreading and curving them.
111 000 000 111 000 111 25
48
2.13. FEMALE AND MALE CONDORS BY AIDA URRUTIA
49
INTERMEDIATE
2.13. FEMALE AND MALE CONDORS BY AIDA URRUTIA
50
INTERMEDIATE
2.13. FEMALE AND MALE CONDORS BY AIDA URRUTIA
51
INTERMEDIATE
2.13. FEMALE AND MALE CONDORS BY AIDA URRUTIA
52
INTERMEDIATE
2.14. SITTING DOG BY AIDA URRUTIA
INTERMEDIATE
53
2.14. SITTING DOG BY AIDA URRUTIA
INTERMEDIATE
54
2.14. SITTING DOG BY AIDA URRUTIA
INTERMEDIATE
55
2.15. SEA URCHIN CARD BY HANS BIRKELAND
56
INTERMEDIATE
2.15. SEA URCHIN CARD BY HANS BIRKELAND
57
INTERMEDIATE
2.15. SEA URCHIN CARD BY HANS BIRKELAND
58
INTERMEDIATE
2.15. SEA URCHIN CARD BY HANS BIRKELAND
59
INTERMEDIATE
2.15. SEA URCHIN CARD BY HANS BIRKELAND
60
INTERMEDIATE
2.16. BABY ELEPHANT BY ARTUR BIERNACKI
INTERMEDIATE
Baby elephant by Artur Biernacki Rekomendowany format papieru 20cm x 20 cm.
1
3
2
6
4 5
7 Unfold. 8
61
5-7
9
2.16. BABY ELEPHANT BY ARTUR BIERNACKI
INTERMEDIATE
15
14
13
12 10
11
62
2.16. BABY ELEPHANT BY ARTUR BIERNACKI
INTERMEDIATE
17 16
18
19
21
20
63
2.16. BABY ELEPHANT BY ARTUR BIERNACKI
INTERMEDIATE
28
27
29
26
30
25 Open sink 24
22 23
64
2.16. BABY ELEPHANT BY ARTUR BIERNACKI
INTERMEDIATE
33
32
34
31
35
36 Model completed.
65
Chapter 3 Complex
66
3.1. RABBIT BY VICTORIA SEROVA
COMPLEX
Rabbit
Page 1
1
Victoria Serova (Russia) http://vs-origami.narod.ru
3
2
a
a
b
6
5
4
a
a d
c
c d
(ac) = 3 parts
b
b Divide a half of diagonal by eight equal parts and unfold to square
(cd) = 12/3 parts
67
b
3.1. RABBIT BY VICTORIA SEROVA Page 2 (rabbit) 7
COMPLEX 9
8
Crease bisectors on both layers and unfold to square. Repeat steps 8-9 on the other side
10
12
11
135
e f (ef) line is on far layer and is the result of flattening the model after the crimp fold.Fold two flaps to the right and repeat this on the left restoring symmetry
Fold by specified lines
15 13
Fold one flap to the left
g
14 e
h
Raise two flap upward holding in the (g) point Rabbit ears. (eh) lines is the result of flattening the model in the upper part. In the points (h) the figure isn't flat.
Victoria Serova (Russia) http;//vs-origami.narod.ru
68
h
3.1. RABBIT BY VICTORIA SEROVA
COMPLEX Victoria Serova (Russia) http;//vs-origami.narod.ru
Page 3 (rabbit)
16
17 18
Fold (throw) the trapezium from the back to the front.
19
21
20
Open sink alone the edges of the near flap
Petal fold. All lines go at a guess about as drawn.
22
23
24
Closed sink
69
3.1. RABBIT BY VICTORIA SEROVA
COMPLEX Victoria Serova (Russia) http;//vs-origami.narod.ru
Page 4 (rabbit) 25
26
27
30
29
31
28
Pull layers inside out
35
34
ee
32
33
j
j Mountain fold to tuck the triangles into pockets
Flatten the model connecting point (e) and (j) by mountain straight line
38
37
36
g a
j
j j
j Reverse fold from the front to the back
j
j Fold by axis. The (a) point is the same as the (a) point on step 4.
70
90
3.1. RABBIT BY VICTORIA SEROVA
COMPLEX Victoria Serova (Russia) http;//vs-origami.narod.ru
Page 5 (rabbit)
39
40
e e
41
e k
k
j
l
j
l
Model isn't flat. Crease (jk), (ke) and (kl) lines. The (jk) line goes along the far layer. Repeat on the other side.
44 43
42
m 1/3 Crease lines. Angles are shown rather draft.
45
46
Swivel fold inside to fix back legs
48
2/3 Form the voluminous body and back legs.
47
Inside reverse fold on fore legs. Crimp to lower the head
49 50
Form ears: open and fold upward. Make the face shorter
71
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
velociraptor 1
2
3
3 DIFICULTAD: c Fernando Gilgado (Spain) 2008 elfernan3 @ hotmail.com
4
5
6
Hay que ser muy preciso para que la figura tenga las proporciones adecuadas 7
8
Juntar la marca horizontal con la marca diagonal y la esquina con el borde vertical
9 45º Girar
72
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 17 18
16
19 15 Repetir 17-18 simétricamente
13
14
12
10
11
GILGADO 2009 73
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 22 Hundir
23
21
24
Dar la vuelta
90º 20
Girar Repetir 22-23
25
26 Aplastar 27
28
32 31 29
30
Repetir 29-31 simétricamente
Aplastar
GILGADO 2009 74
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 43
44
42
45 46 41
Repetir 37-43 simétricamente
40 39 38 37
33
Dar la vuelta
36 34
35
Repetir 26-32
GILGADO 2009 75
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velocirraptor Repetir simultaneamente en el otro lado
49
48
50
Paso intermedio 51 47 Estirar hundiendo por las marcas hechas en los pasos 17 al 19
52
53 54 55
56
58
57
GILGADO 2009 76
59
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 69
70
71
72
68
Repetir 64-68 simétricamente
Pliegue hundido cerrado
67
65
66
64
60
61
62
63
Aplastar
GILGADO 2009 77
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 75
74 Dar la vuelta
Cerrar y girar haciendo un pliegue escalonado 90º
73
76
Repetir detrás 77
Repetir detrás
78
Doblar tomando como referencia la marca diagonal 79
80
GILGADO 2009 78
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 88
87
Dar la vuelta
86
Repetir 80-83 simétricamente 85
Doblar tomando como referencia la marca vertical Dar la vuelta 84
83
82 81
GILGADO 2009 79
3.2. VELOCIRAPTOR BY FERNANDO GILGADO
COMPLEX
Velociraptor 90 89
Repetir detrás 91
92
GILGADO 2009 80
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
Quetzalcoatlus c
Fernando Gilgado
[email protected]
3
2
1
4 Girar el modelo
Doblar en monte
Hundir
7
6
5
Dar la vuelta al papel
8
Hundir
11 9
10
Hundir 81
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
20
21
19
Separar las solapas
Repetir 16-18 simétricamente
16
18 90
90
15
17
13 14
12
13
Plegar en valle una de las tres solapas para dejar dos a cada lado
82
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
24
23
22
COMPLEX
Sacar el papel
25
27 26
Separar las solapas 28
Sacar el papel
29
30
83
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
38
37
36 a
34 35
33 31
32
84
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
40
39
Repetir 13-35 simétricamente
41
42
43 Dar la vuelta 46
45 Dar la vuelta Repetir 10-41
44
Destrabar el papel
Cerrar el modelo
85
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
a
53
52
COMPLEX
a
54
52 a
b
52
51 a
a
b Tirar de las puntas "a" y "b"
50
49 48 47
86
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
61 55 Repetir 53-54 detrás
60 56
59 57 Repetir 53-58 simétricamente
58
87
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
63 62
COMPLEX
Repetir 61-62 detrás
64
65
66
Repetir 61-63 simétricamente
a Bajar la punta y dar la vuelta
Dar la vuelta
a
67
68 69
88
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
76 Repetir 74-75 simétricamente
77
75 Cerrar el modelo y dar la vuelta
73 74 Abrir
Aplastar
Dar la vuelta 72
71
70 Estirar Hundir
89
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
COMPLEX
78
79
Trabar la punta de debajo
80
81
82
90
83
3.3. QUETZALCOATLUS BY FERNANDO GILGADO
Esta figura quedó descartada para la edición en tres volúmenes de mi libro de dinosaurios. El proceso de plegado es similar al Pteranodon pero he cambiado la forma de triplicar las puntas para hacer las garras.
85 84
91
COMPLEX
Chapter 4 Spring Guest
92
4.1. MY MEMORIES BY MICK GUY
SPRING GUEST
Remembering Eric Kenneway Mick Guy March 2010 I first met Eric in London during the 1966 first meeting of paperfolders in the UK. This was at Rosaly Evenine’s apartment during a visit of her mother Lillian Oppenheimer. I had known of Eric through the notebook pages of our Portfolio box that had been mailed around the dozen of us for a few months beforehand. I had been interested in his action model Tower Bridge and that he was an art teacher, but that was about all I knew. Things didn’t change too much at the meeting. Eric came over as a quiet, unassuming man who certainly didn’t push himself forward. It was only near the end of the meeting that someone discovered that Eric had a notebook with some interesting models inside it. Everyone was called over and raved over what they saw. Here was a unique talent and a taste of what was to come. Eric had discovered origami whilst looking for things to teach to children. It was to become his passion and ultimately lead him to leave the profession and make a living writing books. But, like many have found, writing books does not pay all the bills. So Eric became a postman and organised his shifts so that he could draw his diagrams in the best natural light. I consider that Eric knew what he was good at and what he found difficult. Although at that time most commission work came from the London area, Eric invariably turned it down. On the other hand once he decided to do something, nothing would stop him. He told me once that he wanted to visit Toshie Takahama in Japan. But where would the money come from for the expensive air ticket? Eric figured that if he took a university course in Japanese, not only would he be able to understand the Japanese origami books but he could also win a competition for a free flight to Japan. He got to see Toshie but only just got his degree. This was put down to the extensive time spent compiling the thesis to win the competition! Eric’s origami was unique and has remained that way. He rarely used bases and made his models from craft paper as many required a good colour change contrast. He had a very good appreciation of anatomy and many of his models were of the human figure, albeit in a “cartoon” sort of style. He once told me that it was a waste of time folding something in a “cartoon” style unless the general public had become used to seeing the person in that form. I once taught his Margaret Thatcher face to a Conservative Association but didn’t tell them what they were folding. Once the long pointed nose was in place it wasn’t long before someone shouted out the correct answer. Trying to recreate Eric’s models was sometimes a bit of a nightmare. There were times when Eric’s eye took him to fold the paper to a particular position
93
4.1. MY MEMORIES BY MICK GUY
SPRING GUEST
but without a known target. I remember John Smith once sitting down with Eric to fold one of these models. Armed with a ruler, John meticulously measured each step that Eric made but still finished up with a model looking totally unlike Erics! Eric’s subject matter was also quite unique. Fred Rohm, one of the American great experts at that time, told me that he thought that some of Eric’s work was macabre. I suppose Fred was referring to models like the Angel of Death and the Dole Queue, a model of three unfortunate souls queuing up for social benefit. Another little known work was Metamorphosis. This was the only anti war model that I have seen. It depicted Lyndon Johnson at his time of President of the USA during the Vietnam War. There were three models: one, a caricature of Johnson, another of the devil and third of a bomb. But on a happier note we also have a whole catalogue of models that are fun to fold. Although Eric was unmarried, he loved children and was at his happiest trying new things out on them. Being quite avuncular in appearance, his rendition of “I’m a little teapot” was a rare treat. Many of his series of paper craft books came from his times playing with my children and Joan Homewood’s. Although Eric was never a front man, he was much in evidence in the support areas of the BOS. He made contributions to most magazines and was always eager to share ideas. The BOS became his family and he took every opportunity to be with members. It was Eric that kept suggesting to me that we should have weekend conventions instead of just daily ones. We eventually had a weekend convention in an hotel in Birmingham and such was its success that it paved the way for all future meetings. Eric however did not own a television until in his later years and often at conventions he would disappear to his room to view an old film being broadcast! Much that I took the credit for the early novelty competitions, it was Eric’s original idea that began it all. We had just to come to learn of Takegawa’s Magic Tipper and Eric suggested that we could run a competition asking members to bring models which would tip in a specified time. But Magic Tippers can be stubborn things and the competition was a bit of a flop. However the seed was sown and most origami societies now include a competition of sorts in their convention programmes. When Eric died he left us the royalties to his books and the proceeds of his flat. These have allowed us to bring paperfolders from all around the world to our meetings, something that would definitely have met Eric’s approval. Eric was extremely well read and it was my honour to write an obituary about him for The Daily Telegraph. Later I asked John Cunliffe for an opinion as to what Eric would have said about it. John thought it was fine but added that Eric would have preferred for it to have been published it The Times! We remember him with much love and many smiles.
2
94
4.2. THE ORIGAMI BOOKS OF ERIC KENNEWA BY TUNG KEN LAM
The Origami Books of Eric Kenneway Tung Ken Lam The subjects of Eric Kenneway’s books were crafts, amusement for children and origami. Sadly most are out of print except Complete Origami, his final work that was published after his death.
Simple Origami, 1972 This 36 page A5 sized publication from The Dryad Press contains ten models by contemporary folders. Directional Finger is reproduced.
Origami In Action, 1972 This is in the same format as Simple Origami.
Folding Faces: Making Portraits in Paper, 1978 This 96 page A4 sized publication from The Paddington Press uses a number of bases and techniques to make faces. The author encourages the reader’s creativity by explaining the thinking behind some of the models. Dr Schweitzer is reproduced.
Origami: Paperfolding for Fun, 1980 A hardcover book that was later republished missing John Richardson’s Hedgehog. Trees on a Hillside is reproduced.
Complete Origami, 1987 It remains a ‘unique collection of origami facts, anecdotes and techniques’ to this day. Here is its last entry, “Zen”: Is origami just a form of creative play, a pursuit of decorative forms, or is it something more? To a few paperfolders the oneness of the square of paper (which has the capacity to become all creatures, interdependent because the square always remains a square) symbolizes their belief in the harmony of the universe and the presence of the Buddha-nature in ali things. Just as the influence of Zen – that Japanese approach to self-awareness through meditation and the development of intuitive knowledge, which is characterized by a preference for simplicity over complexity – can be seen in other traditional Japanese activities, so it is apparent, to a degree, in origami. 1
95
SPRING GUEST
4.2. THE ORIGAMI BOOKS OF ERIC KENNEWA BY TUNG KEN LAM
For example, Italian origami teacher Vittorio-Maria Brandoni, who has founded a school of origami in Turin based on Zen principles, believes that origami should not just express what he calls an ‘empty aestheticism’ but rather an attitude to life and nature. Just as the practice of contemplation in Zen leads to enlightenment, so folding paper in the right way should lead to a ‘waking up’ of our minds and hearts, he says. ‘But’, he adds, ‘origami is only folding paper – he who wants to understand it, just has to start.’
BOS Library Model Sheets A number of these models were later published in commercial books. Fangs fo the Memories and Mount Fuji appeared in Robert Harbin’s Origami 4. Folding Faces featured Mask with Moveable Eyes, William Shakespeare and Richard Nixon with revised folding sequences. Nixon’s sequence is ‘climactic’ with the final turnover revealing the finished face.
2
96
SPRING GUEST
4.3. MOUNT FUJI BY ERIC KENNEWAY
SPRING GUEST
97
4.4. GIRL: HEAD AND SHOULDERS BY ERIC KENNEWAY
98
SPRING GUEST
4.5. FLOWER BY ERIC KENNEWAY
SPRING GUEST
99
4.6. INSTANT 2 X 1 SOLID RECTANGLE BY ERIC KENNEWAY
100
SPRING GUEST
4.7. JEWELLERY BOX BY ERIC KENNEWAY
101
SPRING GUEST
4.8. MASK WITH MOVING EYES BY ERIC KENNEWAY
102
SPRING GUEST
4.9. FANGS FOR THE MEMORIES BY ERIC KENNEWAY
103
SPRING GUEST
4.9. FANGS FOR THE MEMORIES BY ERIC KENNEWAY
104
SPRING GUEST
4.10. DIRECTIONAL FINGER BY ERIC KENNEWAY
105
SPRING GUEST
4.11. TREES ON A HILLSIDE BY ERIC KENNEWAY
106
SPRING GUEST
4.12. BASIC MASK 4 BY ERIC KENNEWAY
SPRING GUEST
107
4.13. BASIC MASK 5 BY ERIC KENNEWAY
SPRING GUEST
108
4.14. RICHARD NIXON BY ERIC KENNEWAY
109
SPRING GUEST
4.15. WILLIAM SHAKESPEARE BY ERIC KENNEWAY
110
SPRING GUEST
4.16. DR. SCHWEITZER BY ERIC KENNEWAY
111
SPRING GUEST
4.16. DR. SCHWEITZER BY ERIC KENNEWAY
112
SPRING GUEST
4.16. DR. SCHWEITZER BY ERIC KENNEWAY
113
SPRING GUEST
4.16. DR. SCHWEITZER BY ERIC KENNEWAY
114
SPRING GUEST
Chapter 5 Autumn Guest
115
5.1. SQUARE FLOWER BY ROMAN DIAZ
AUTUMN GUEST
FLOWER Román Díaz The folding method is designed so there are no folding marks left on the petals. To achieve this, a lot of precreasing is necessary.
petal colour upwards
1.
3.
2.
5
5.
4.
8.
7.
6.
9.
7.
7.
116
5.1. SQUARE FLOWER BY ROMAN DIAZ
AUTUMN GUEST
7-10
10.
11.
12.
13-14
crease 13.
15.
14.
13-16
16.
17.
18.
19
19.
20.
117
21. Collapse like a water-bomb base, but do nor flatten completely
5.1. SQUARE FLOWER BY ROMAN DIAZ
22.
AUTUMN GUEST
23.
24.
26.
25.
27.
27-28 29.
28.
30.
31.
118
5.2. MAPLE LEAF BY ROMAN DIAZ
AUTUMN GUEST
MAPLE LEAF
Román Díaz
1.
5. Collapse as a water bomb base.
4.
3.
2.
6.
7. Unfold to step 5.
9.
10.
8.
11. Unfold to step 9.
12. 13.
119
5.2. MAPLE LEAF BY ROMAN DIAZ
AUTUMN GUEST
16. Valley-fold two layers under the colored triangle.
15.
14.
18.
17.
20. Tuck two points into a pocket.
21.
19.
22.
24. Squash-fold.
23.
27.
25. Tuck two edges into pockets.
28.
26. Valley-fold.
120
5.3. GOLDFISH BY ROMAN DIAZ
AUTUMN GUEST
GOLDFISH Román Díaz Main color up
1.
4. Crease firmly on the shown area only.
7. Rabbit-ear.
2.
5. Crease firmly on the shown area only.
8.
121
3. Crease firmly on the shown area only.
6.
9.
5.3. GOLDFISH BY ROMAN DIAZ
AUTUMN GUEST
12.
11. 10. Reverse-fold two corners.
90º
13. Pull out some trapped paper.
16.
15.
14.
18.
17.
19.
20.
122
5.4. REEF FISH BY ROMAN DIAZ
AUTUMN GUEST
REEF FISH Román Díaz
Main color down
1. 2.
3.
4. 6.
5.
7.
9. 8.
123
5.4. REEF FISH BY ROMAN DIAZ
10.
AUTUMN GUEST
11.
13. Fold two layers as one. There is no precise reference for this step.
make sure these alignements have happened
12.
14. Make just a little pinch on the centre. 15. Fold and unfold the top corner to a point a bit past the mark. There is no exact reference point.
16. Open sink the point.
17. Spread open the point. 18. Spread-squash fold the corners.
90º+
19. Just a little valley fold.
20.
21.
124
5.4. REEF FISH BY ROMAN DIAZ
AUTUMN GUEST
23. Fold and unfold through the top layers.
24. Fold and unfold through the top layers.
22. Fold through all layers. align this mark with the top edge
25.
27.
26.
28. 30.
29.
28-32
31.
33.
32.
125
5.4. REEF FISH BY ROMAN DIAZ
AUTUMN GUEST
35. Tuck in.
34. Close the model incorparating a reverse fold for the tail.
37.
39.
38.
40. Lock the back tucking the near half of the fin into the pocket of the other half.
36. Outside reverse-fold.
41. Slide the upper lip to open the mouth a bit.
43.
126
42. This is a reverse fold.
5.5. SMILING FROG BY ROMAN DIAZ
AUTUMN GUEST
SMILING FROG Román Díaz
3. 1.
2. Fold a water-bomb base.
4. Unfold on one side. 5.
7.
6.
9. The paper needs to be opened quite a bit for this step to be done comfortably.
8.
127
5.5. SMILING FROG BY ROMAN DIAZ
AUTUMN GUEST
Leave some space here.
10.
11.
12. There is no exact reference point for this fold. Look at the drawing.
14. Fold two corners behind.
90º 13.
15.
16. Inflate while keeping the two top edges together and spreading the legs.
17
128
5.6. PANDA BOOKMARK BY ROMAN DIAZ
AUTUMN GUEST
PANDA BOOKMARK Román Díaz
1.
3.
5.
4.
6.
9.
2.
8.
7.
11.
10.
129
22.
n o if , a n p gp s f n ls m oa f of ; n n d b n ; na o o on o bia b^ npn o briga pan os ln p m d c k y ^ o s foa yab i f k bn f n aio d s n dn b 8 o n fn o sd bn ps or 20 cmo ^;m sdo o ias p q de pf p n lc m p v no nfb n d lx p s i o ivc h io fp if o o hp ;n im bo o ln sn sa â os tig f p iio 1 d nd am n d 24 ho i r o p g f lf ig g f e am h i
5.6. PANDA BOOKMARK BY ROMAN DIAZ
12.
19.
23.
130
AUTUMN GUEST
15.
14.
13.
16.
17.
20. 18.
21.
BEAUTIFUL ORIGAMI
Index Designer Aharoni, Gilad, 21, 23 Anna, Kastlunger, 17 Biernacki, Artur, 61 Binzinger, Evi, 8, 9 Birkeland, Hans, 56 Chen, Sy, 16 Cucek, Sanja, 37, 39 Diaz, Roman, 115, 119, 121, 123, 127, 129 Gilgado, Fernando, 72, 81 Guy, Mick, 92 Ho, George, 15 Kenneway, Eric, 97–103, 105–111 Krallmann-Wenzel, Ulrike, 1 Lam, Tung Ken, 95 Ma, Yong, 30, 33 Montroll, John, 43 Pessoa and Grzybowski, 5 Schakel, Loes, 10 Serova, Victoria, 66 Shintako, Suzana, 7 Soukharevsky, Olga, 28, 29 Swapnil, Shinde, 25 Urrutia, Aida, 49, 53 Vigo, Marc, 46 van der Ploeg, Elsje, 3 Genre Action Eviphant, 8 Mask with Moving Eyes, 102 Throwing Start / Spinning Top, 9 Animal Baby Elephant, 61 Butterfly, 33 Mouse, 30 Quetzalcoatlus, 81 Rabbit, 66 Sitting Dog, 53 Smiling Frog, 127 Velociraptor, 72 Article
My Memories, 92 The Origami Books of Eric Kennewa, 95 Bird Duck, 25 Female and Male Condors, 49 Robin, 43 Fantasy Fangs for the Memories, 103 Minotaur, 23 Fish / Sealife Goldfish, 121 Reef Fish, 123 Flower / Plant / Nature Bindweed, 39 Bindweed Flower, 37 Flower, 99 Maple Leaf, 119 Mount Fuji, 97 Square Flower, 115 Trees on a Hillside, 106 Human Basic Mask 4, 107 Basic Mask 5, 108 Ben Gurion, 21 Dr. Schweitzer, 111 Girl: Head and Shoulders, 98 Richard Nixon, 109 William Shakespeare, 110 Insect Horny Spider, 46 Modular Garden Coaster, 10 Object Instant 2 x 1 Solid Rectangle, 100 Skull, 17 Useful Object Caixa, 5 Directional Finger, 105 Iris Letterfold, 3 Jewellery Box, 101 Mask, 15 131
INDEX Panda Bookmark, 129 Porta L´apis, 7 Postcard with a Rooster, 28 Postcard with Iris Flower, 29 Sea Urchin Card, 56 Wrapped Letter, 1 XO Secret Note, 16
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Credits Model Collection edited by Tung Ken Lam and Mark Bolitho; compiled and typeset with LATEXby Tung Ken Lam. Cover by Sharon Turvey. c
2010 British Origami Society and individual contributing authors. Printed in the United Kingdom. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the express written permission of the author and the British Origami Society. The British Origami Society is a registered charity. Charity Number 293039 www.britishorigami.info
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York 10-12 September 2010
BOS Convention Book
