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    Origami

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    Origami

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    A 6 NW Yg ZY5 CW C

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    Origami

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    The Art and Wonder of Origami Kunihiko Kasahara rhis iin © 2004 by Kunihiko Kasahara Ail fights reserved. No part ofthis book may be reproduced in ary form without writen permission of the copyright overs. All images in this book have been reproduced with the knowiedge and prior consent ofthe artists concerned, and no resporsibilty is accepted by the producer, publisher, or printer for any infingement of copyright oF otherwise, arising from the contents ofthis publication. Every effort has been made to ersurs that credits accurately comply with information supplied. We apologize for ary inaccuracies that may ave occurred and will resolve inaccurate o¢ missing information in a subsequent reprinting of the book. First oublished in 2004 in Japan by Gijutsu Hyoron-sha Publishing Co., Ltd Unde” the tlle of Jiture’ mansait Koko rade dekiru origami no mit First oublahed in the United Statos of America by Quarty Books, a member of Quayside Publishing Group 33. Commercial Steet Gloucester, Massachusetts 01930-5089 Telenhone: (978) 282-8590 Fax ‘wire quarrybooks.com vith the righte and preduction arrangements of Rico Kamanoya, ricorico, Tokyo, Jaoan ISBN-13: 978-1-59253.213-1 ISBN-10; 1-89253-213-6 09876543 ‘Translation by Tom Boatman, Minoru Okajima, and Minako Sakagami (native creative YK.) ‘Art direction end book design by Eko Nishida (coolt ger) CD-ROM authoring and manufacturing by TimezPreShon Chief editor and producer: Rico Komanoya [rieorico} Printed in Singapore image not available image not available ‘These forms also have more than one solution, but try to find the most obvious way to cit. How to Solve the One-Fold Puzzle Use form A as an example of how to follow the rules and work the puzzle, see step 1 and 2 below. Although step 1 seems to have two different answers, each is considered the sare solution. oN another way to fd it a? Py AA > = a Try an origami puzzie! — 21 image not available image not available image not available ote gs Be i oF 4 ww, image not available image not available image not available Table Sleeve- Waving Yakko ‘Counterweights are traditonal Itaire or Menko thread holder) models, (See page 33 for instructions) ‘Long bamboo skewer \ ‘ Mamezo-san con Balancing toy) Try an origami puzzie! — 29 image not available image not available image not available From Itoire to Menko The third-fold variation of the Pinwheel model was called /toire {thread holder) in the Edo period (1603-1867) and later became Meno. The quarter-fold Pinwheel model frst appears in some documents tom the Mei period (1868-1912). The quarter fold variation is believed to have originated in Germany. ‘Are older origami models more complicated than newer ones? Historical documents on origami show that the more compicated the medels are, tho onger thy nave eestor. As far as Prvheals are concerned the till | version is much more challenging to fold than the quarter-fald version. Ths “rule” holds true for not only the Pinwheel but also for other models lie the Komoscu (0 Chapter 2 for dotale) “Tuck the last poirt into tho pookot Completed mode! ‘Menko starts with a third-fold Pirwhee The challenge 's to open this part neat Make firm creases so that they wil open easily ‘Ty an origami puzzle! — 33 image not available image not available image not available aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. Origami from 270-Year-Old Documents Ranma Zushiki* Origami in the Edo Period (1603-1867) In Api 1993, the Nippon Origami Association (NOA) published a special ecition fits monthly journal, Crigami, to commemorate the NOAS 20th anniversary. The journal was published in the form of a valuable and elegant book by Setoshi Takagi called Origami from the Classics, which contained a great deal of infor- ‘mation about origami gathered from ancient documents. The book's most fasc- rating contribution, however, is @ print from Ranma-Zushiki right). Edited by Hayato Choka in 1794, Ranma-Zushit is a three-volume enthology of Edo- period designs for Japanese hand-carved wooden ranma (decorative panes) Historian Yasuo Koyanagi discovered the print called Onigata, or fold models, in this anthology, and Tekagi helped spread public awareness of it with his book. The Mystery of Six Origami Models Depicted in the Ranma Zushikf print are the folowing Sx orgami modes 1. Crane 2. Komosou (Zen monk wearing deep straw hat) 8, Cargo Boat 4, Cube {the Tamatebako) 5, Ashitsuki-Sanpo (Offering Case with logs) 6. Tsuno Kobako (Perfume Box with Petals or Star Box) ‘Accompenying the illustration were the folowing desorpations by Ohoka (quoted ‘according to Mr. Takagi’ interpretation): “There are a variety af designs for fold models. Popular exampies include (1) the Crane, (2| Komosou, (3) the Cargo Boat, (4) the Tamatebako, and 6) a sort of folded pouch for perfume.” At fist, the relationship between Ohola’s deseriptions and the models shown in the illustration were unclear because he did not include the Osanpo (a ceremo- rial cffering case without legs). However, Satoshi Takagi and Masao Okamura, a leading oigami historan, helped resolve this rnystery. A more complete story ‘about these ancient models is told on the following pages. “A three-volume anthology of traditional Japanese hhand-caned wooden panels, or arma ccesigns, published n 1734, 48 — The At and Wonder of Origami Reprinted courtesy of Sateshi Takagi het some parts of the medels that are missing in the criginal print have been restored by the author (he dotted lines). 1. Crane 2. Komosou Ts Kamosou, meaning one of a loosely knit sect of wandering Zen monks of the late siteenth centu- ‘This mode is so popula that it requires no explanation, ~ kind of fute, for donations and wore a face-obsouring straw rat ifers fom a traditional form, known as Komusou today. (See page 62 formow detail) 3. Cargo Boat ‘This mode! has long been populat in Euroge. Today, people enjoy foding this model with newspaper to make paper hats 4. Cube (Tamatebako) This lost masterpiece has finally been rediscovered, ) the Tsuno Kobako, See the folowing page for (5) the Ashitsuki:Sanpo and New Discoveries: Origami Masterpieces of the Edo Period — 49 Origami Study: Osanpo when you lock closely at the ilustation from Fanma-Zushiki on the previous page, you may notice that the Osanpo (a ceremorial offering caso) is drawn from three different angles, whereas the other models are drawn from only wo angles. The crawing in the bottom-left corner of the print, which is of Osanoo, looks lke a sixth modal. However, this sixth model is not mentioned in Ohoka’s description When | first saw the drawing, | mistook this sixth model for a cube with tran- gular pyramids on each plane and tried to fold it myself. (The result is the invention on page 56) Unaware of my misunderstanding, | presented my invention publicly as a restoration of the model in Ranrma-Zustiki, Soon after, both Takagi and Okamura contacted me to point out my mistake, saying that what I regarded as a sixth model is in fact the Tsuno Kobako viewed trom above. Well, that was true. ‘According to this new interpretation, the Tsuno Kobako is correctly identified in Ohola’s description as a “folded pouch for perfume.” But I til wonder why the Osanpo is the only model drawn from three diferent angles. 5. Ashitsuki-Sanpo 6. Perfume Box (Offering Case with legs) with petals Ashitsuki-Sanpo Osanpo 50 — The Att and Wonder of Origami og QRzy As — Now Discoveries: Origami Mastorpioces of the Edo Periad — 51 From Historic Documents: What Is Komosou? ‘As noted on page 24, the origin of the Yatko is a mystery. Although it is now synonymous with origami itsef in Japan, we know little about when and where it was first folded. Satoshi Takagi is perhaps the fst to raise such questions about the Yakko. He frst points out that the Komusou model should be taken for the Kornosou we know todey. Komusou and Kemosou, which are thought to be traditional variations of the Yakko, offen appear in fine art of the Edo pericd. However, these models were not called Yakko in the Eco period. Yakko came to be known during the Meiji period, only after Froebel’s origari books (see page 40 for more detail) were introduced to Japan. Ranma-Zushik reveals that what is today know as Komusou was called ‘Komosou in those days. When you look at the drawings of Komusou/Komosou below (Ranma A), you can see thet the mace! looks the same as the Yakko, However, Ranma B and C, which are taken from older literature, require more complicated folding techniques than the Yakko. ‘Some people consider these drawings to be exaggerated or imaginatively created by an artst of the times. Howover, as was suggested in Chaptor 1 (age 33}, traditional ‘olding techriques were compliceted at first and then became more simple overtime, Thus, itis no wonder that the original Yakko was folded using more complicated techriques. ee & ‘Athoush teday this model is called the Yako, in those days people took it for ‘Komosou viewed from the front or the back. Ranma 8 Ranma C {n early seventheoth-centur) century llustiation of Komasou a 52 — The At and Wonder of Origami Komosou and Komusou 1 4 From Historic Documents: Is This the Original Komosou? ‘Some people say that traditional models from the old age of origami are simple and easy to fold whereas modern models are highly sophisticated and advanced. As you see on the previous page, however, this view is not true at all \When you look at origami documents from the Edo period, you encounter chal- lenging pieces that require complicated folding techniques on eimost every page. With this in mind, | folded a veration of Ranma-Zushik's Komosou, which looks similar to a model in Contemporary Designs: Models in Detail,” a book published thirty years before Ranma Zushiki. The model is called Orisue Komasou, or Standing Monk Bending Down, Node! No.106. Wie folding ths piece, | referred to the drawing shown below, believing thai is not an artists exaggoraton but book pubis 708, according to Cigar rom the «an accurate depiction. Whatever the truth may be, | am confident that this Cancer eaceh tea model, which I nemed Takuhatsusou, or the Fa, fs a rice work of origami Nippon Origami Associaton Friar This drawing of the Komosou was taken from Contemporary Designs: Models in Detail” Taking this, sketch for naturalistc instead of an exaggerated, | created the Friar model, demonstrated below. Friar ] 2 Pullout the bottom portion of the model to form a triangle. 54 — The At and Wonder of Origami aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. Fun with Decorative Models So fer, | have described my personal study of Ranma-Zushiki. Now, let's enjoy folding some variations of the Tamatebako, Think about the development of forms from Itoire to Menko, from third-fold Pinwheels to quarter-fold Pinwheels, and from Froebels basic forms to the Tamatebaka. Tris exercise is an evolution ‘rom planes to three-dimensional shapes, from basic forms to beautiful flower boxes, leading finally to decorative cubes. Let's try folding some flower boxes and decorative cubes. Although these mod els are merely variations of the Tamatebako and the ipako with Hexaheral Sides, their beauty never fails to Celight. Flower Box Sco page 24 for Pinwheel instructions, This crease forms the bottom of the box. 62 — The At ard Wonder of Origami image not available aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. image not available image not available image not available aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. image not available image not available image not available aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book. aa You have either reached a page that is unavailable for viewing or 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Crafts The Art and Wonder of rigami The craft of paper folding, bewer known as origami, is «craditional Japancse pa time that is now enjoyed all over the world. The author of this book, Kunihiko Kasahara, is recognized as one of the best origami artists, and he ravels the world doing demonsteaions and presentations. In The Art and Wander of Origami, Me. Kasahara introduces origami enthusiasts to his remarkable origami puzales and pro- Fite collecdo of projects hat mace the anticipation and the expectation of thom: ‘who ave familiar with his work. The projects acured will challenge the knowledge and skill of both amateur and expert origami artists by demonstrating both tradi- tional Japanese origami and also Kasahara’ lavest “cube art” technique. Other prej- cexts feature building block-style units, beautifull boxes that look like lowers and snow cryrtals and many other projects and exercises that will help you expand the horizons of your origami silts, The Art and Wonder of Origami not nly includes traditional forms but aso presets bra ching purses, thrce-dimensional cubes and stunningly beautiful ar + Easy-to-fllow how-to Hash movies for Macintosh and PCs help anyone under- stand che world of origami + Ready to print origami partems help amateurs learn the art ‘In-depth inseruction for extraordinary origami art from one ofthe mort renovened Japanese origami masters opens this field to anyone who is interested About the Author Modern origami pioneer Kunihiko Kasthara was born in Okaya City, Nagano, Jpan in 1941. He stdied broadcasting a: Nihon University’s College of Ar, where his interest in origami began. Over the yes, he develope new techniques in origae ri art and wrote about them in severs! books, which have been tranlated into lsh, German and Korean. His fst publication, Origami Book for Mother anal Child (Seiko-sha), was displayed ac the Ja 1970, and was later packed into a time capsule that wil be sealed for 3,000 year. nese pavilion of the Osaka Expo in 1a. 1986, he taught in Beal and Chile asa Japan Foundation eccurer and has been akcivein vaiousincemational cultural exchanges. He is knows as the pioneer of the innovative ‘unitorigams” technique. His latest achievement, the “cube at” into-

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