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Practical Considerations

MORE TIPS FOR FOLDERS

Considering the question of scale — each model has a fairly well-defined, optimum range of scale that translates to the perfect paper size, or range of preferable sizes. When a model just seems perfect, you know that the artist has chosen the scale wisely. This choice also depends upon the paper thickness for a given model, and it is a mark of an experienced folder when you see those choices perfectly executed. We are also aware of the impressive work that it takes to create examples that fall outside of that usual window or envelope. When you see such works, realize that they probably rely on hidden engineering, support structures, materials, tricks or tools to accomplish the extraordinary. Our display of Origami Japanese Cranes at a pharmaceutical convention required a special, two-piece design, and internal structural supports and clamping devices in order to show off their seven-foot wingspans.

Crease Patterns

Crease patterns are efficient puzzles useful to adept folders, and in a perfect world where there are no beginners and everyone has above average skills, there would be no need for elaborate diagrams, drawings, photos or video instructions. We don’t live in that world. Regardless, if you have been folding for a while, it might be fun to practice your proficiency at figuring out crease patterns. Another way to challenge yourself is to use a right-handed crease pattern to create a left-handed origami model (such as Michael’s Yellow Tang for Mariko, page 64). This ability to translate “handedness,” or chirality, is a useful skill that improves with practice. Crease patterns have become an important component of public displays of folded art. When a visitor looks at a piece of origami art without realizing that it was folded from a single square with no cuts, the impact may not be as powerful as it would be if a crease pattern accompanied the work to communicate that added information. The same is true of popular songs. Knowing why a songwriter was moved to create a piece of music often adds immeasurably to the total experience.

Holding Hand, Working Hand

We in New England are mindful of the concept of the “division of labor,” especially every time we enjoy eating our tasty, large-claw lobsters from the icy North Atlantic. The local lobsters have two distinct and specialized claws — a smaller and sharper “pincher” claw, and a massively powerful “crusher” claw. Think of this animal whenever you fold paper, because one of your hands will be better at holding the paper, and the other will be skilled at placing the creases. “Hold before you fold,” is a common reminder we hear from Michael when he is working with a new folder. Printed origami diagrams are to blame for many of a new folder’s difficulties. For economy, the diagrams are rarely rotated on the page to show in the actual orientation that we normally use when we are placing a crease. When one sits at a table with the paper before them, the natural position of the fingers points away from the folder’s body. That is also the most natural direction for a flap of paper to be moved by those extended fingers — away from the body. This means that the paper will be frequently turned, flipped and repositioned for folding comfort, and the hand that firmly pins the model to the table is the “holding hand” while the fold is being positioned and creased by the “folding hand.” Some folders can perform delicate maneuvers only with their dominant hand, and they focus their efforts on that hand. Others strive for equal facility in their hands, and exercise their non-dominant hand as a way to challenge their minds.

Inside each crane is a wooden fixture to clamp the halves together and support the hanging cable.

LaFosse folds his signature “Origamido Butterfly” from a 5-foot square of purple handmade paper that we made for an episode on German TV.

Chemical Size

“Size” is common term used to describe a variety of natural and synthetic chemical additives used to harden the surface of the paper, control the absorption of paint and ink, and to stiffen it. Exploring and becoming familiar with a new tool or technique can blast open a passageway to exciting possibilities. The unseen workhorse of today’s folded paper sculpture is methylcellulose (MC for short), and if you want to become a more artful folder and have not used it, give it a try. This reversible, water-soluble paste allows two thin sheets of paper to be pasted together (back coating). It also helps the paper layers stay put as you narrow (or “skinny”) any long, thin appendage, such as an insect’s leg or antennae. It also toughens the paper and strengthens the stance, making the piece stable when dried. Yoshizawa and other advanced folders used starch (wheat) paste. Photos of those works published in 1970 inspired Michael to design his own origami and create shaped, folded sculptures. When Michael was a teenager he worked at the Fitchburg Public Library and helped repair books. This made him aware of insect and mold problems associated with starch paste. Sometime in 1973, his father, a building contractor, saw how Michael was trying to back coat two sheets of paper for his origami designs. His dad suggested that Michael try Metylan, a wallpaper paste that he used (which turned out to be MC). It worked great, not only for back coating, but for sculpting or “modeling” his finished works! Unlike starch paste, MC gel did not go bad.

Those who are new to the techniques of back coating and wet folding with methylcellulose may at first be intimidated by using size. However, most of our students experience a remarkable improvement in their work when they wet fold their first sheet of handmade duo paper (laminated with MC gel between).

Research on the Internet

The Internet is now loaded with photos of exceptional models. It can’t hurt to search for an image of an origami subject to assess the state of the art. Perhaps you will find that your own vision has not only been done before — but that it has been done much better than you had ever imagined. On the other hand, an Internet search may afford you smooth sailing in uncharted waters, going where no folder has gone before (or if they have, they never returned!) The other side of this coin is that seeing other works will influence your work. Consider the risks.

These were just some of the nuggets that have come up in discussion at the Studio while folding paper with other artists and students interested in more artful folding. We hope that you find some of these ideas or suggestions useful and thought provoking as you explore origami as an expressive art form.