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Using the Butterfly Design System

Discover your own “species” with LaFosse’s design system.

Michael LaFosse’s origami butterfly design system is based on sequentially squashing rectangular proportions, so there are many possible ways to handle the extra paper available when starting from a square. Some can be temporarily stored in the wingtips, then pulled out to form beautiful color-change patterns. Some can be used to produce a segmented abdomen. Some can be rolled beneath the forewings to accentuate the separation of fore and hindwings. The LaFosse Moth begins with a blintz to provide even more extra paper for later use in exotic treatments. There are an unlimited number of choices that can be combined in different ways throughout the process of folding the rest of the model.

Have fun by experimenting with the variables of this system and open your mind and hands to the endless possibilities of paper folding.

Butterfly Base Stages

The form will be determined by the choices you make in the following pages.

Establish Horizon Line

Margins (pages 6-11)

Color Change (page 14)

Squash-folding (page 12)

Abdominal/Head Delineation Fold

Squash-folding (page 13)

Wing Details (page 16)

Head Details (pages 17 and 18)

Abdominal Taper (page 19)

The Butterfly Base

Upper & Lower Margins

(Flaps & Corners)

Astounding variation is derived from just the initial folds. Typically, you fold the paper in half first. This “horizon” fold becomes the butterfly’s “waistline” and a portion of the length of the abdomen.

Subsequent margins, from folds made parallel, and toward the horizon (whether forward or backward) are “introductory flaps” which provide diversity.

There are many ways to form margins. The edges could meet the horizon, be folded in at any fraction, or be placed either on the front or folded to the back. It is often easiest to tuck in all or at least some of the corners.

Corner treatments could be either mountain or valley-folds, and there is no reason to be limited to 45 degree angles.

These early steps determine many possible outcomes! Observe the initial set-up decisions (left), and the resulting bases (right).

Introductory Folds

The first fold will almost always be a “book fold.” Fold the paper in half with the opposite edges touching, just as you would close a book. This forms the horizon, or waistline, of the butterfly. (When you begin to design your own butterflies, explore what happens when you fold the paper not exactly in half.)

When trying to obtain a fold where you only need a reference point to find the correct measurement, make a “pinch” mark at the edge (or edges), instead of a full crease. Shorter fold-overs often require marking both sides for accurate symmetry.

The Origamido Butterfly (left) starts from a double, ¹/₄ valley-fold (cupboard fold). “The Lillian” (right) starts from ¹/₈ and ³/₁₆ valley-folds with beveled edges.

For a ³/₁₆ fold, bring the ¹/₄ and ¹/₈ pinch marks together and make a crease. This is perhaps the most popular ratio used in Michael’s designs, since it results in a pleasing amount of “top paper” for the wings.

Unless otherwise noted, the corners will be valley-folded to the crease, creating 45-degree angle bevels (you may wish to experiment with other angles).

Mountain-folds are shown with dotted lines:

When you experiment, try some initial folds based on proportions other than one half.

Squash-folding

Technique shown with plain 8.5 x 11" paper, but any rectangular sheet will do.

This series of squash folds is used in a majority of Michael LaFosse’s designs within his butterfly system, so take the time to master and memorize this series of folds carefully.

1 Valley-fold in half.

2 Valley-fold in half once again, then stand this half up, perpendicular to the table.

3 Squash-fold, using the existing crease line (second valley fold) to center the squash. (Note: This second line may not always divide the paper exactly in half.)

4 Turn over.

Align the lower right corner to the center of the top. Push the mountain fold flat, directly over the crease line made in the second valley fold.

5 Squash the other flap using the same crease to center the resulting triangle, as before.

6 Fold corner to end of gap. Arrange corner 90 degrees (perpendicular to the flaps).

7 Turn over so the triangular corner is flat on the table.