Bait zs bret) eet eS aT whe 25th Year Annual Special issue for the Regular JOAS Members Ro rr Le REL AS eda , Obed 59 oe Uae ae Ae ele) eB iig ix a0) As)HAPTMERS BADR EPESCOWROLELELET. ABB RIM oH SEls, 2014 F 4 Ar 2015 4 3 OH 25 MAA BRVIINTA CT © ARTMER OR DECI TERI BEIT EVE, ST. MER APRA A ABOELZD Y B25 BSR FIACTRA SOB: Tho] HAS RPA (Al AMBER TOOL) ree a4) Het a, CR REAE TERR. TV] ONOh- 1-977, TH Yat 9, [ayay—] Yatyy+7— TILE CH, 2015 4 3.5 31H SRSUR ARAL: RRMA) BREE OAR LA Tf II 9 AEE UT FRET GET IALC BEML LET AA AE OWE OMEN LB Hi DO GNALTBIEF. March 31,2015 ‘To: JOAS members Re: The 25th year Annual Special Issue for the Regular JOAS Members Dear JOAS Members, As usual, we thank you for your cooperation and contributions to the activities of JOAS. As a part of our compliments and as a token of our gratitude, we are sending an annual special issue every year. In this year, we will send you diagrams, “Dragonfly” by Kamiya Satoshi and Crease Pattern, “Dolphin” by Komatsu Hideo, “Sheep” by Kosuge Akihiro, “Red sea bream” by Nakamura Kaede, “Sandilya (Santeira Taisho)” by Hojyo Takashi, “Peregrine Falcon” by Robert J. Lang, “riendship” by Joseph Wu, and “Lobster” by Jason Ku. We hope that you will all continue to support JOAS. Thank you. Miura Koryo Chair of JOASk yi Dragonfly AES Model & Diagrams by Kamiya Satoshi 2002/10 * 1.08 3 Tos 4 hs HABICHOBEOS ERICHOBEDS OxtemiaTae ss . Fols long siogonals Fold slong diagonals “Fold long the ne comnecing ARE OK AbET and unfold. ‘and unfold. the marks but only on HOBOS the crossing point. Unfold. Fold so that the marked 7 comers reach the mark but only on the edges. Unfold. 8 So THe ee Wena i i | I/ZOHO BEVIS Fold so that the square is divided into twelfths. Unfold. + | PFEADBIADET 1/30 OBES V/SOROBEDIS Fold and unfold along Fold so thatthe square is the lines that dissect divided into sixths, Unfold, the square in thirds, SHiHe a 1/240 OBES Fold so that the square is, divided into twenty-fourths. Unfold, 4 9 N, ; ORB RRTHOBE VSG 4 ORBRMTH OBES ORS THO BENS Fold and unfold along the line Fold and unfold along the line Fold and unfold along the fine connecting the marks. ‘connecting the marks. connecting the marks. 2 R25 mJoas aBNaMACHRH 2015 5OZR KETHOGBEOUS Fold and unfold along the line ‘connecting the marks. 17 6 ORBTRTHDGEDS Fold and unfold along the line ‘connecting the marks. 13 CeGm CHOBE DIS Fold and unfold along the line connecting the marks. FAOMCH GEIS Fold and unfold THT Assemble using t the existing erease lines = 30 OR RMTHO BES Fold and unfold along the line connecting the marks. => OREO BEDS OnemecinnnmecuS Fold and unfoid along the tne Fold and unfold along the line 42 36-392 UE SIE HORS Repeat 36-39 ‘on the other side. OR KR CHOBE DIS Fold and unfold along the line connecting the marks 35 ‘connecting the marks. 2SMiOAS RENNMRLAREH 2015 544 45 46 Obie REC DDID 324d Inside reverse fold along the lines Bu an: : connecting the marks. RMS 32-426 DFHO/24DLZBCHS y BUSI OBEDWS Fold the edge down: 47 Repeat 32-42 on the other sice. along the ton 24th line 50. 49 HRA Hf 48 AMELIT DHT KIS Open and fatten the flap. 1 DUTWSHD THOME 51 BSLUSESICHS Raise the flat at the center Wel along the existing crease lines. mwcRyD Pleat on both sides. meTBST Crimp on both sides. 56 LEED MCB Crimp on the upper portion. a © i 54 tao ExnenmArcRInD ding he plat nhl. timp cn the upper potion 6 25 JOAs SensemiRRAiNER 2015 -FPFERARAHS Fold the layer to the other side. ~ GE) SHOES € aa RLOD Push the third layer inside, AAAFLAD I rote BIABLAG Push the layer inside. pay EOE RAN BSKSICHS Fold the two layers back. Push the second layer inside. 59% 58 Lem (Open Sink) pen sink TF* RNA OT AKEADHCADET LOLF OR BRE ROBES DRTKSICHS Fold the edge to the Fold the edge to the other side. vertical crease Ine. Flatten the top part. AESS-OBLALESICNS Repeat 53-68 on the other side. 63 61-62 ROCFBE1-62E Busse Repeat 61 on the next layer. 62 2FERNAATOT MoS22R0T DEIESES Fold the edge tothe other side, flattening the gray part. 61 DFERDBEADET OME HS Fold the edge to the crease line. Unfold. 8.25 RLOAS Stemmons © 770 FnEAE RAS DUTWSH DBT (Open the top layer. SPRRRICITD BO Pleat fold. ROUT RU THORDLENREET. ERGHOBIEITTSETCOT, BFR WHSHOBEROT HOBATRAW. In what follows, use the existing crease lines Unless otherwise note. ‘UseH9 (Open Sink) ‘Open sink. 78 { RDO HD Inside reverse fold. BCBS Open the layers. RNMG7S-78EMLESICHS Repeat 75-78 on the other side. eee PS (cH DRG Flatten the model. 15 BA ME70-72ERUESICHS Repeat 70-72 on the other side. 76 77 DUOMO MEST PEORDGSESIME SueeBIRDmDLc Sc side reverse fold. OBES Fold along the crease line. Raise the flap. DUT S HOM CMMI OBO Assemble using the existing crease lines. 8 Wa MIOAS SANNA 2015QWthainome WMRICHOEO Pleat using the existing crease lines. RRS Open the layer. BA MES4-BCLEUESICNS Repeat 84.86 on the other: eae FecnowD Flatten the model, assembling along the crease lines. sae PSCHORS Flatten the model assembling along the existing crease lines. 86 91 RROnKOMAERIS Open the layers. ae ESCHOBS Flatten the model. KAI E8O-82e AUSIHS Repeat 80-82 BRS on the other side. pen the layer. DWT MHOC SCRRCOBD Pleat using the existing crease lines. ze 25 Mons SaweMAHTN 2015% 993 HSicHORD Flatten the model. RAMGEB-OBEMLESICS Repeat 88-98 on the other side. 100 | FHESE LpS2va80tcst RRS Open the layers at the third crease line from the top. QUTNSHOBT AROAKEDRCSSELT RRA RE Pleat fold using the existing crease lines. DUTHS HBT se DUTUSHOBT SMH OBS (ORD Piao wcne Pete Open the layers. YSN ED Assembly using the existing crease lines. 96 eS Open the layers. 102 One DIE HRETESIC HOROMAEAOBO RNMSERICHS Stretch along the line connect assemble the model as shown in 103, 10 m25mJoas cetemineniset 2015RSO7FOETET @EODIFOLTST a< BAMAS BNAAKS Open the top layer Fold back the layer Fold the layer along the edge. to the other side. along the edge. & Cem KRTRNAAFS | Fold the layer to the ‘other side along the line AVEKSESIHS Fold down the layers. ‘connecting the marks. ORMKMTTS TES CAS Slide the layer down using the line connecting the marks. foutusyin ees ROBATUS RUGSARCHS FORMEESICERSRW ‘Assembly along the existing crease lines. Repeat on the other side. The lower part wil not lie at. Ln2zkoRHoR Be RUHR BAMSARIHS ‘Assemble the model adding the two crease linas. DUTHSHOG CHES ASRS REF SICRSR ‘Assemble using the existing crease lines, Repeat on the other side. ‘The model will not lie flat yet. A 2 PFEAMANORS Fold the edge inside. 106 hy AKELAHOT Rech ee Fold up the bottom layers. masmsoas Sanya 205% 11114 115 116 117 7A Lioe-114] a AFERMOBOS RNG 108-114e DREFAHS Fold the edge inside. BULSICHS Fold down the flaps. DREPARS ont other oe Fela cown te tayo. 118 11 120 121 RcKiS (Open the top layer. eV OMMETSTESIC HORSES Side down the layer using the crease ines. e HS 141-1482 08: BLES cHS PUPSLTHS PFE Repeat 141-448 Slide along the line ORD io te otiersida, slightly above the Fold the edge inside. existing crease lines. B25 ons SwmeNTR os 15165 166 = paessste aca 162 Crimp outside 3 © narsxe 7 i werK5K / z Racer abo wotassi (Crimp the body. Bato Ae RRMLACKSICAS 172 Inside reverse fold Repeat on the other side 173 168 I sucvanDme 4 mam D AT RNMOACESICHS = 7\—Gemp ana put the created lap insid ose a Pleat on the tip ann Bet 169 stom 171-172 BaD ins Ropeat 171-172 Ww onthe other legs. DEORE SINS RNMSALESICKS 170 Faas tacos Repeat behind DREMARS Fold up the fap. Monee ENENIEDLSICHS AMHBITO-173¢ Bstaie 70-1 Narrow the legs. Repeat 170-173 behind. 175 178 177 wowsonenainns 176 Fold the layer behind the legs inside BREDEDLSICH DBAS PFERZORMA OAD DREEARS Fold and swivel the edge inside, Rabbit ear fold down. 16 wosmisoas Sees meH 200518 189.9, 190 oa SROMREIC RROVEBRS Gk ‘Shape the compound eyes. Crease on the bounds 191 ‘of compound ayes. ( / cod Model complotod, ‘Dragonfy 1.18 186 + “or 184 183 ETERS S ‘Shape the belly. 185 BERN 177-183 ARERR BLASS Fold the edge inside. Repeat 177-183 behind. 182 BMEMCTSSSEHS Narrow the belly. ~ 180 179 181 sD Inside reverse fold. poe AKEARATS Fold the edge inside. 9 DRE PAHS DoH Fold down the fap. Inside reverse fold, ‘asim sons Sete 2015-17tIbA Dolphin AMBRE Komatsu Hideo (Japan) Created: 2014/06 Paper Size: 30cmx30cm Length: 16cm WAR BDO” RARE LT (SHED NAV ABASNS TLES.COP EACH TOE SS RIEMICIE VERTED 5. REND RTZ OHO LTH S AeAVe DEAD LIE: HOU UMEROAK20E FF PDETIED, FULTRHOOMM Mo THSH KE DM EETENEN HBL WOME are ESD TT, MAEM D RANE TL AOE READ ETH, CORE BATOBVEITL io HABEA ONS 1 2H TAD SYR E Ya RD mE AOL THURTID, E55 TSMONEH MP SHOML TBE TRUDE bet. eecccccccccce ne would not expect there to be Obie options fo arange Rape form a dolphin. This model builds on the idea shown in Figure 1. Specifically, Jong points formed by two diagonally symmetric rabbit ears combine to form the tail fins. The short interior point is used to make a dorsal fin, while the interior of the two long nested flaps can be split to form the two pectoral fins, with the other used to form the head ‘Though not the most typical layout, this structural concept did not seem to me so suiprising, Indeed, « dolphin by Aoki Ryo published in the 12th Tanteidan Convention book has similar structure, but differs in the construction of the head and pectoral fins. To create this model from the basic structure in Figure 1, the head and tail required interesting new structure, while 18 asm soas Seema 2015 & RZ ALS A Sate iets (fs SEC HOB AAS CE A ela NEM MMBOM(L Wo KEOL ROE Ati T SHUM OR xO TORO RS Efe] DD ICE WENSID RHSECHSUVIME RAMEE ORRLIS LORIE CEROLTA, CORREO BEN, FAMTOLDICMD SECM GMORM EMT DHEA HOELE MLE TREMER DETA RUNOKE MAT (EX CICEIDLRLMASMEL nkth. 22. SMEO WEBS TSE LICK RAID VAN ERSEDAT A, SOU 2SOLAMIBICHOTLEVE UD ENCEBMMDNSIYAR eoocecccccces ‘minimizing multiple visible layers along the back of the model. A graft of paper ‘was added to accommodate the former, limited in width by the latter, though the problem remained on how best to use the extra paper. To tell the truth, I had trouble finding a novel solution as many candidate approaches have been already been explored. Though the head was the primary difficulty, settling on how finally to shape the tail fins may have taken longer to resolve. In keeping with 22.5 degree structure, the nose of the dolphin is « bit short compared to a real dolphin; still think it captures the general balance of the subject. ‘Now an explanation of the diagrams provided. Figure 2 depicts the reference points for the crease patiern. After folding, the crease pattem should form BEM a EMA Wt EET PAY EBvET. ENTSEMDAOMRTS. NID HPO USK, PH 8 Ce BE, ROOWAAHSNED, ET MBAPADA REBROT MAL ACRERE ARES, ENDSC OAKERVUAA CRON Maret LGRT.COTHMOEY He (COmLE Le TSP DOA Ret SICA OSEL (NS) TERAIIE LL EV WON MOO LS Icfk LK 5 MRO CORBA BIPE OD HB 5)) ATE DRT EIICPIDT WOME RE TCI AAT (KIC ELE ST (WARE CBELED) LACH ENTS LIC TIS, FE BICBA TERI. the base shown in Figure 3, Next, the flap morked A in the crease pattern should be inserted into the pocket marked B, while the two excess tail flaps marked C should be locked together. A suggestion sequence to lock the tail is diagrammed in Figure 4.To the head, the two points marked D should be folded back inside the model to make the head three- dimensional (Figure 5). Finish the pectoral fins as shown in Figure 6 by squash folding some paper into the pocket marked E in the crease pattern, and three-dimensionally open the body, fixing the position of the pectoral fins to the right and left (no glue necessary), For additional shaping, please refer to the provided photos.Run 1 2 Tail Fin un Dorsal Fin. Head HS Fig. 5 He Fig. 6 Buon Pectoral Fins @ Fig. @2 Fig.2 @3 Fig. 3 POLED RVR OO Sm ME RAPES UIE CHF HIT EAE) THUWPELAELA,, Reverse fold twice locking all layers together.” or “Crimp. m25msors SurmmatH 2015 19If Red Sea Bream Ht il Nakamura Kaede (Japa Created: 2014/11/25 Paper Size: 35¢mx35em Length: 17¢m ETH EROS WBMEWETAS, COPE, 90°F RORobert J. Langer ite OQUBEELACLT TORT, A ICUS ERIE b ROBE BIE LERE LV 2ORABRFOCE TH, COMBIS22.5° OA Ke Ka DHSESESICMKSEOTHA, ‘Origami Insects and Their Kin EOLangheO MCE IC EEL TORT HOME RMUEDIOET DEN AMEED BEES Ie EM DMERRALTOSDOEI CASE AAG DEAE Ae SIAL AD TURAN FF EDIE SRO CET FAILED eecceccccssccccesccscccccccs ust by looking at this crease J pattern, one might realize that it was influenced by Robert J. Lang's work from the 90s. The obvious similarity is in the upper left [in figure this is upper left?] part of the crease pattern contains a 1:2 rectangular molecule that is used to form the head and front fins, was also used often by Lang in "Origami Insects and Their Kin" If you were to see the diagrams for that section, you would understand that this structure is a natural way to form this part. Actually, I was looking into variations on the traditional bird base and by chance independently came across 20. masmaois annaimeise 20154 DS EIROR A IMURE TLIC. ESL THRLEDBCON ENTS MOPS, STORM WIITH BRUCE DE OM FED ICAL AC EME CHD ik COE ELE DEP RORABEIO TEE DEBIOKS A, AEM TLT BLE SWOR ABST EEDE SKIS FAMOBAE AS SBD MOUREL- REL 2189 (62), FE ZEBUTD LC Lab apse it CM) DEAE SSO Al LAYT Swe EFTTA HELE MOU ETO CEN DEC TSE SPRINT, CHIC RL TLE this structure without reference to Lang's work, and arrived at this model When folding this model, you can either crease everything and collapse or follow the order shown in the progressive crease patterns. First, fold half a stretched bird base as shown in the first diagram. This creates the flap that will be used to construct the molecule described above. Then the bottom right flap is reverse-folded to create the belly fins and tail, as shown in Figure 2, and then crimping and shaping the creases in Figure 3 complete the base for the model. After that, just make a shallow OUD a RANE TEE Uk. ER MTO PF EHD MO CHUTES. KKMOAEE BORE OE ERORLYN-YO RTEERDETM Sho ry RERDPT ER MALE RM RBA OUCO Fi PEI CARA LA HEIs PIPES —AIDVEHLH O0kg TH COM HOMEOMEEAKLIDDELTE WicwoCNSTL IIH: FESS PAB CHLO BEDS TL: “Citi AOE ote (HST Ee: BLET. eecccccccccce crimp to define the dorsal fin. The rest of the model can be forced into shape according to your preference. The construction of the eye is straightforward. To make a real eye would require a more extreme solution, but I prefer cleanliness and ease of this shape and design. I folded this model using the "Sousakusenka" series of paper, specifically "Kinumomi" 90kg paper. Paper with this thickness yields a fairly solid structure. Because of the asymmetry of the tail section, the wrong side of the paper may be visible, so I recommend mono-color paper.eva Sheep Nea Kosuge Akihiro (Japan) b Created: 2014/09 Paper Size: 54.5cemx54.5em Length: 23em MRBICBRIT ET Hh EOE MMO MRE DMECRRISCLE LOKI Ble~ BOHISAL OTT TEP IEETSCLRRAELER ES UC EDBATY NI BPE i WAN THA RRIHL, Ee WL EMDHro THSCEILEL. MEI THE, EOHDSHO ARAL CLARIF > CTEOMDSAKE MULE, A BORER TBICD LAER ROT, ABMSTELELE. MK [k, BOR RE MTR MICK E iT CEMRML THO COREL Re CIUTEA ERLE IFO UUE (NERD CIM, PUD ARED AMIS HES LTE ETS FRANCA TLEUMBRE 7 AE KRROBO GRC TP FRESE EUMKBOMBIERASOEEH hen designing an origami Wriver, the first priority was using paper texture and facet composition to construct the wool body, with a beige wool and white color-changed face and legs. The basic structure of this model started with three Y patterns with alternating orientation which I shaped into a sheep. To make the head, I wanted the ears to protrude from under the wool, so to accomplish this, I created pleats I could pull out 22 tw2s isons eeanyvimm eH 2015 OL HDAKLTHDI FE MOT CHICLELE LIL NSB TROVE MOTT TIA ARE RURO KBOWBIEARAUIGICT BC ECHMLASE BA, MBO IIE PBCLICURLE. BLE TUS BIC BD DAs BELTS BLAND TU EU EMDDIO TC, LACM TA, BRM PT CLICLEL To TORI, HOARE STECEMCE CHEB DRIER ELK LOTT A, BCLS HUARD AND RURIC ROC L EUMBAREL A. BONS FHT DAICLTL ESRD RMLHAS ERO MAN HEAT CHAE D ZUNE RR UDC, LOM: BR LUCY ARED, WT MUVEHUET BCE LL wocccceccccece paper to make the ears. However, this solution did not use all the paper, so I decided to add eyes with the excess paper. For the body, I purposefully left a large face of paper to comprise the texture of the wool. Just these details began to form the basis for a sheep, but naively creating the legs formed leg-body connections that looked more like muscle and less like wool. To fix this problem, I moved the seam of the front leg behind the wool face. RICE HOMIE OTF AFSC MMO ES ICED 2ENCUTHEEPD, ERLE. GH8225° CREDLILART WELEA, 225° OA TBD OBIE RUBAMGoietew, 1L25° ORD? si CHUTE Hi Te ABET. ARDIBU DAS ABCC URE CIE Buy, AMM ME AMA ALE Hooke, LUOHABEAL 2:31 2-1 CH LIAICOWT, T Aa LOAF APO RDC AMELIE EBRTUIOCITM, TAFT BE NEFHSCLOTEERATLI. LPL, TY AY vay TERENT UPS ISSS AADC TX AWS ALLY, World Origami DaysDPAICHSCEMTERLI. However, it looks unnatural to hide the rear thigh completely in the same way, so I adjusted the angle of the rear leg seam to look less like muscle. While I was folding the head and body, I realized I did not have enough paper to form the rear legs, so I grafted on an 'L’ of paper to accommodate. Unfortunately, adding the extra paper for the rear legs added too much paper for the front legs. But since the rear color- change came down further than thefront wool facet, I used the extra paper to make the front leg have a similar Jook. Lastly, I made a seam between the body and the neck, and brought the color-change region along the neck in a similar way as the front legs, which completed the design. I wanted to force all ereases to lie at multiples of 22.5 degrees, but I was not completely satisfied with the form. Thus, in some small places I slightly modified the angles away from this restriction, so please be careful to pay attention to these changes when they occur. The model shown was folded from "Echizen- momigami", a traditional Japanese kneaded paper. The proportion along the top is given by the ratio 4V2:3V2-1. I wanted to finish this model for last year's convention contest, but I was not able to finish the idea by the deadline, but I was inspired after seeing the submitted models to complete it for World Origami Days. 25m JOAS apeMAINEAAR 205 = 23EEA Sandilya (Santeira Taisho) Thieme Hojyo Takashi (Japan) Created: 2013/12/01 Paper Size: 79cmx79cm Length: 30cm (rik, COR RICDT: RACHEL TUS S6DUED’ tO fete Bo oe + oA SE KEM eKOS, feels: BUTHET. (eat HMAC LB IME Oe se 1 Re SOME NEC, > (ERROR SECS TOK CS. EPAERC: 75 ARAN FRE u HE ¢ ATA Lee IDIATC ML. FT AV ARDY FEVER VIO Dee wat Lal fale eocccccccce his model represents one of the "Twelve Heavenly Generals", a traditional series of figures that I've put on my New Year's cards over the past few years. For this model, | referenced imagery from the Kofuku Togane temple to design its image and pose I find it interesting to represent a new subject, exploring its own detail, structure, and inspiration, while at the same time striving for uniformity across a series of models. For this model, instead of using multiple sheets or rectangular paper, I decided to restrict 24 m2smJOAs creemiNREN 15 ¥ ARI ORARABANEEA APU TUMEU TER, BAP MIA, sted i rELI EA AMORA! SNL, AN RR aT SCLC WEE OTRO NE DS DWPSHICLTRG. COR AHS (OMIA LOW Rave 2008 AD SUBARITTOSEOT a 2010S ATED! PUREE AK: SAEANTSBAOLIOED BADER iE He Offetils, 201 Crmoxesy — (HAN) 1B SM EO— DBI BETO FES, BS PUSS ORA AAI, SAVCEB RUB MLODE2eROTHSO CHS. EVIAYET PENI FAEBAMENKEO TT ALOE 4%, [Communitree| (community GEIR) + tree (Hi), ZLT.IS0 Happy Together| (#2 ii RH%®) ERTTURT THE BEES, A IBRERU IS REBBLTIET, HEATED Flispenge RAENSOTH A, HDL EOLELA HR PRL ELEN SMO RD 2-9 HSRRERTOR LV ACN £ WSARBE t YAO! his design was part of a series done for my gallery show, "Harmony", in October, 2013. Every piece in the show was developed to highlight the concept that different people with different backgrounds can still live in harmony. Other pieces included "CommuniTree" (community + tree), and "So Happy Together” (a collection of happy faces). ‘The symbolism behind the kanji Hi) isa very interesting one, Pronounced péng in Chinese, it origin is somewhat obscure, with different sources tracing its roots to either twa strings of ancient money, or the two wings of a phoenix. Instead of using either of those origins as the basis 28 wasmJoxs AnNMREAER 2015 OW, DED2 HAE AEB t BAS, ENENIUES AD 2KMDROTHRERS, EWS KBE CTO Co COVED ADH RBERORSCEOBBERLTE EORoTWET ENE TEANGA PUT INRS — MBP SATOMENET DK EAE 2 Die Woe = AB. 1 DDEOEDECETHSCEIIED ET. ADO ROAAHO A, FS CBHUKHEASTUS of this design, I chose to focus on its actual construction, that of two Fi(moon) characters side-by-side liked the concept of two separate individuals coming together to form a friendship. The smiling faces further emphasized the happiness of the friends. The origami design also accentuates this idea. Each moon is folded from a single half-square triangle, so a square cut in half along the diagonal forms the two sheets necessary: again, it is two halves of a whoie. The curvature of the crescent moon shapes is adjusted in the different halves to make the left moon nestle into the space left by the right moon, almost as if the one friend DO EDIE BED AO MENTHES 39H OR PBC 4 PD RS BUCY SHAD, 2AOANSECE ERSLICMET SLEEVED, AHOMSMOEBOTLERLT ES. MBE CET TILSIND KW CT ROLF BD Dik OLBOREDOANBA BDECT I, ELBA AIAUE, DROR AAT TRE SO ROB SHAMMLET LU 9 Fay PMO DTA Y EMIED, COPE ARYL bh DAT TRE LC EA MORAN ORE BOTS. is embracing the other. Of course, this means that the crimp fold lines ‘on the third crease pattern are only guide-lines. You will need to adjust them to make the two moons nestle nicely together. The step-folds show the construction of the face, which is not immediately clear from the crease pattern. A bit of sinking and rearrangement of layers is required to achieve the final face, but once sequence is understood, this basic face structure can be used to fold any number of different faces. Note that, unlike Erie Joisel's face designs, this face is meant to be folded dry, relying on the tension of the paper to hold it into shape.Step 9 25 mos Rema 205% 29oO JAI— v8.1b Lobster va.1b VIAYY-I— Jason Ku (U.S.A) Created: 2015/03/17 Paper Size: 53cmx53em Length: 21em fae SE Conese sititits Heaeenites RBKITHAYLELE COME BEAIE TS MOOS THOT DROIT AS—ME NE MAMIE. YO PAIEMRCET Ute MOKUCRARYOA—/N—-TOT RAK BIVGETH, IT RA—D INDRIEROLTASIFAAKE ILA ZEROTH COMI ZSEALR BLIEVERoROT PIC MES RD Ba PE RA TeDIL2004 ECF, EOMGLTY PBI RE AG 7284 x BLEED. SCMEOD + IEE LEM AEM FORE THITEO A PMELTARDDEOCIA HED tHipka MELT EA Edo TC. FEIOUT ARORA MIS, BL ICRL THO ETM, eecceccccccce his lobster model was designed to have detailed appearance, yet relatively simple underlying structure, The primary motivation for this design was the proportional inaccuracy | observed in many existing origami lobster models. I see lobsters almost every week in Boston grocery stores, and lobster claws can be almost as big as their body! I hoped to eapture that detail in this model My first attempt designing a complex crustacean was in 2004, a mantis shrimp based on a complicated 64x64 box-pleated grid where each crease depended on many other non-local creases, While that design was helpful in exploring box-pleating as a design tool, it was not a very good model. In contrast, the basic structure for this 30 masmuoas senemmawN 215 4 SCAR IC AEE ALLOK COES. RMB MATE TREEDTIET OPP WhSITSCE, BMERIOK BAWMUICRSOCREYCLED DPMBORMO AE TIF ARE BODICREEA RAT ATHDENE BOCT HS. WRAEBRLT FE Wf DR 2b EER TARA HOUT 2A HMETELE FOMOBIER MIT THSISIC, BADE SEDANS TIERS OC, COME (COMO THEMES CORT A LMM TIESDET M2 1S KD WCRMRC. AGEATOCLER OBI MHEARLTWET LED (STFREBALELESHMOMA HOM DME RL AEE HE lobster model can be summarized by a greatly simplified crease pattern on a 20x20 grid [Fig. 1]. It would be a nice exercise for the inexperienced crease pattern folder to fold this simpler crease pattern, as it is accessible and will proxluce all the flaps necessary to make a lobster; the corresponding tree is also shown. Once folded, try to shape the base into your own lobster! ‘As I've grown as an origami designer, Thave come to hate pre-creasing. Thus this model was designed to have a folding sequence, though is still quite complex. Fig. 2 gives a more detailed crease paitern, primarily a halved version of the crease pattem from Fig. 1. The left half shows the intermediate uniaxial base while the right half details a few shaping steps, primarily to form CREDDELEMRREB ORME RUCKT. MISCO LIFE DMC UTES RODS SOM EIEIO TS Hike COCR TORT A, CODA, F DAKEARTSABLOBELVE BoTOET. ARC MEOEMO BRUSSEL AECMATSO [kL RotMOTF RED ABINC AA TENOBREMFALNSCE CR DO KEAH CH TOPPER OREO IO BRS ALEAOTMAMUOMMOME LE FRECHPSNTWOETH, SHAAN DMD ALTE CT. HORT Y BE FOKMAANSTE CAV ERI BTLEMHETH. AEC THK TLR MEO EVREET TOES HK 4 MVAMSIST TOMRE Ae the tail and eyes. Fig. 3 illustrates the tail shaping in more detail. This method of forming many small points from the interior of the paper is much preferred to methods that account for the separation between each flap; exploiting that flaps have thickness can be useful in design by choosing which side to put the extra paper. ‘Texture on the outside of the tail can be formed similar to the back scales of Satoshi Kamiya’s Ryu-Zin, but many texture methods are possible. For the eyes, a small ball of rolled up paper can be inserted into each pocket to make them round. This model is best folded from large, thin, strong handmade paper with long fibers; avoid the use of foil.BS Fig. 3 34 Fig. 3.1 B31 Fig. 32 / / o H2 Fig 2 } ’ } 3-4 Fig. 3-4 33 Fig. 3-3 S25 MuoAs ZEtesIMaE ani5% 31 weRFR YD y | SFRROCRA [FARRAR VATY | AAA CP SOME TT. BAH (WAZA) CHOORTENST. MRCS (SSRDISTOTHOREA) » 1, GRC T ORE RAL (SHORBAATSRAMRIES) 0 2. PRO | SHRI (C PaCS CHCA FEL). 26M (2015 #4R~2016 38,151 ~1565)| MARAE ummm 4,200F] a. xeiaa ADO CHEVERCESMainvET. 2EHAALMUBRSCHELEDLCKeL,| oss BESS s408%8 00170-7-260699 1~SBFSRE RCV. 1.fEP 2. RB csoneeomuvas. 3. Bid. FAXES 4.EMail7KUA 5.18) 6. SRA 7. me Se ee MAA AY) COUT (>—-De<—7&6) ORTH. Mac rAAMcHoMmMeEN. EMRROD BITTE » SSRIS OTHE BNRLETREORASHSN MTOR T . PEGDA VSDUCER. RAS OMA Ly ty RARER RORECS. ASHRSS SARROSASE BAVA Ts, MI AREARL THES. SAFASEMMALALTS. APICES EMIRA DARN TRS (F TIKCOMEMAEN TBS QOOMLEDED) « BOGMAM 8,.400F] ssscmc racomam) emeuccrean BAM PARR 10:00~ 18:00 Bett) 7113-0001 RRB RREAW 1-33-8-216 Phone/Fax 03-5684-6080 BAMA N-L<-Y http://www.origami.gr.jp/ 53250 HAAR SAAC AM Gkaedn) 2015 43 F131 AEF eH MTR. MERE. AER CRE POST HR AC RS gt 7, VxAd yar fit PHBH IW OAT HAT ACER 7113-0001 HORACE 1-33-8-216 TEL & 03-5684-6080 23K URL : http://origami.gr.jp E-mail ! webman@origami.gr.jp HOR 2 ©Kamiya Satoshi, Komatsu Hideo, ©Kosuge Akihiro, ©Hojyo Takashi, Nakamura Kaede, @Robert J. Lang, ©Jo- ‘seph Wu, Jason Ku / The 25th Year Annual Special Issue for the Regular JOAS Members, Published on $1, March. 2015 by Japan Origami Academic Society, 1-33-8-216 Hakusan Bunkyo-ku 113-0001 Tokyo JAPAN / Publisher : Tsuda Yoshio / Editor : Yamaguchi Makoto, ORIGAMIHOUSE SAO RM EM ROMN A HEPeco ee or een a en eee 2 EAe Rr Ls eee ES SET + DAGMBFS /JOAS