Making and Developing of the Ryu Zin: Eastern Dragon

Kamiya Satoshi
(Translated by Corey Hannigan)

The Ryu-Zin is likely my most important work. It may be one of the most complex origami ever created - not only by me,
but in the entire world. In this close-up, I’d like to reflect back on the process that led to its creation.

BEGINNING

The original impetus for all of this goes back to the very first Shizuoka Convention, in the Fall of 1999.

1. At the time, I had challenged myself with something I didn’t know too well - using a square to fold a rectangular
work. I had a prototype of a square version of David Derudas’s Cobra.
2. In the convention hall, Fumiaki Kawahata’s Dragon Head being exhibited. This Dragon Head had been folded
from a rectangular paper.
3. I hadn’t made a dragon for around a year since the Ancient Dragon.
4. Next year was the Year of the Dragon

…So I started thinking, “I wonder if I could make a scaled, Bahamut-model dragon head with a square?” And on top of
that that, with a time-limit attached. …What, the Cobra? In the end it’s still a protype, lying in the corner of a cardboard
box. Ultimately, if you consider this too as part of the process towards the Ryu Zin, then I certainly don’t see it as a waste
at all.

1.0 “RISING DRAGON"

In order to create the dragon, I first thought about the scale pattern. Basically they are put in diagonally, but it’s a
common pattern so I chose to add a variation by having the direction of the crease change for the belly section. By the
way, at this stage I was still thinking casually - perhaps adding scales later, or making scales ahead of time and using any
left-over portion around the outside to fold out the limbs, etc.

Next I made the head. Its shape would need to have a sense of weight in order to not be outdone by the scales. Also, I
made it in such a way that I would be able to add creases, which freed me from having to worry very much about the
structure of the body. For the time being, I positioned it in the corner, and while playing with the creases that I had put
in diagonally, I was able to get something close to that. However, the scales and the structure were different, so
connecting them seemed like a pain.

I had finished the head, so for the time being I set myself to try to create a dragon without the scales. Combining the
pleat structure extending from the head, a meekly shaped three-finger dragon emerged. The load on the paper was
light, and the center of gravity was in the rear, which allowed it to remain stable even with the front half oriented
upward. These elements in and of themselves earned it the name 1.0 Rising Dragon. (Please note that at that time it still
did not have the name Ryu-Zin, which came only after I added scales.)
▲ 1.0 Rising Dragon crease pattern

2.0 “RYU-ZIN"

This time I used 3x-width paper when creating the scales from creases, meaning the surface area would be 9x. Normally
I wouldn’t mind too much, but of course the thickness increased similarly…

Now, once the Rising Dragon had been completed, next I needed to add scales to it. First, I straightforwardly tried to use
preparation folds to make it as I had originally planned, but it was impossible with the 9x-thickness… Strategy failed.

■ Starting with the Scales

Having no choice, I changed my perspective and tried tackling from the point of view of mounting the head, etc. onto a
body with fewer wasteful scales.

First I figured the fact that I would need to fold out a long body was unchanged, and what ended up getting pulled out
was Okamura’s Snake, which I would then try to add scales to and use as the base. For the time being I tried to make a
prototype, but… this also just wouldn’t come together. The original root problem of how to deal with the thickness
produced when making the scales wasn’t solved. So, what to do?

■ Skin

Then came the idea that accounts for the very large place this work holds. Whether it was the trigger, or the turning
point… I can’t say all too well, but when I discovered it, I finally started to feel that I could complete this piece.

It still hadn’t even been folded, the crease pattern was unfinished, and I couldn’t even see the structure, but I firmly
believed it could be done. That’s how important this was. In that moment, I was even happier than when I would
eventually finish the piece.

Folding it was truly enjoyable. I was so eager to complete it that I even grew frustrated with my own folding speed. That
doesn’t happen with all of my pieces; in fact, in the majority of cases I haven’t had this occur… but creating this was one
of the most fun parts.

But I digress. For the Ryu-Zin, I had the idea to make the scale portion ahead of time as “skin” and wrap it on afterward.
It wouldn’t stand out very much to the outside observer, but it played an extremely large role for the Ryu-Zin. Thanks to
this idea, the structure, thickness, and many other issues were all solved at once.

To execute this concept, I would need to deftly tie the pleat structure to the creases that produced the scales. For that, I
was able to pull out a technique I utilized on the Emperor's Dragon a few years earlier, which would allow me to
smoothly connect creases of different properties together.
First I attempted it with an equal 64-part fold, which interestingly came together quite nicely. On top of the scales being
smoothly connected, they came to an H-shape which ensured the intersections wouldn’t stand out. This could work.

Immediately I tried folding a scaled snake (really just a simple cylinder) with an equal 128-part fold, and confirmed that
the H’s connecting section was longer than anticipated. So I adjusted the length of that section and extended it straight
through, inside the skin. There was also quite a large margin within the paper, so it seemed like I could fold out the limbs
from that. All that’s left is the head, I suppose.

▲ Crease pattern for the section that alters the fold-shape

■ Attaching the Head

When trying to line up the head and body structures, I first found that the crease direction was off by 45 degrees, but I
could easily change the orientation by blending it to 22.5 degrees.

Next the considerable difference in crease heights bothered be, so I doubled the height of the body creases and tried it
with an equal 64-part fold. This simplified the interior while also dealing with the thickness. However, in order to
preserve the fineness just for the scale section, I finished it with the original crease-size.

It was at this point that I realized I had a big problem. Connecting the head section in the most straightforward way
resulted in it coming out upside-down. I would need to do something about that.

After trying a few different techniques, I was able to align the orientation through the somewhat brute-force method of
twisting it to flip it over.

20 creases were needed to add the head section. For the time being I decided to add the 16 that I considered the
minimum required, and pulled in the remaining creases from the surroundings. I couldn’t tell how the connecting
segment between the head and scales might cause some interference, but I figured I would just try making it as-is.

By this stage I had solved most of the issues section by section, so when I did it for real I checked as I folded, with the
feeling that I could make adjustments to deal with any problems that might occur along the way.

The remaining problem of the connecting segment between the head and the scales was eventually solved – through
various trial-and-error attempts, and with some degree of force – by collecting the scale creases together into one big
crease, and then sort of sucking them in by the base of the horn.
With that, the Ryu-Zin had more or less taken shape. After around a year and a half of effort, I was somehow able to
complete it within 1999.

■ 2.1

When folding the second one, I was able to adjust the neck connection and various fine details.

That’s the version represented by the one and only crease pattern that currently exists.

It’s the one that appears in the crease pattern calendar sent to JOAS members. However, sometimes the pictures are
actually of 2.0.

▲2.0 “Ryu-Zin”

3.0 “TRUE RYU-ZIN"

In 2000 I presented it at multiple conventions and received the sentiments and opinions of many different people. Some
common comments were: “Compared to the fine-detailed head and scaled body, the limbs are fairly simple and just
stick out randomly,” “The way the paper stacks along the back bothers me,” and “Can’t the scales be folded more
finely?” etc...

Would it be possible to create a new version (to be called “True Ryu-Zin") that might clear these issues? ...Or rather, as
annoying as it was, I still ended up thinking about it. Maybe I should chalk it up to my nature as a creator...

Anyway my next objectives were to conceal the stacked paper along the back, apply scales to the limbs, and create a
model with finer scales. And because I was making an effort anyway, I included attaching a dorsal fin, attaching a tongue,
and making it more jagged between the horns to the jaw.
▲ Satoshi Kamiya – Born in Nagoya, 1981. Specialty in fantasy creatures/extinct species. Hobbies outside of origami
include video games and piano performance. Currently studying papermaking at Origamido (Massachusetts, USA).

With that, I tried sticking these features into the Ryu-Zin.

First was the stacked paper in the back. I could cover it up if I changed the width of the scaled skin and extended it to the
back. Along the way I was able to prepare a little extra material to use for the dorsal fin. However due to this the number
pleats along the whole body naturally increased... In that case, the connection between the structure and head-section
would need to be remade. If I was making a dorsal fin, I would certainly need to make a proper tail-fin on that extension.
The tongue and horns seemed like they could be worked out somehow if I played with the head-section a bit. There
were plenty of edges.

While preserving the smooth flow of the scaled skin, I finely folded in each layer at a time. This is a bit of a digression,
but that scale pattern was from the “Butterfly Scales”, which I used to actually fold sometimes back when the manga
“Origami Detectives” was still in newspaper syndication. I never expected to see it again in a place like this.

The problem was the arm and leg scales. Partially folding scales was quite a pain. There are a few different ways to do it,
but this time I would fold out the creases for the scales ahead of time, during the step where I make the edges for the
limbs. Then I would finish the body scales with the same method. With that, it mostly seemed to be coming together.
Now to fold it.

For the time being, I added what I thought were the bare minimum essential creases and tried making it with an equal
88-part fold. I took a wide skin section and set the interior structure to match it. Then once I knew the limb positions, I
could plan the creases to fold out the scales.

I had to struggle a bit with the connection between the scales and head section this time as well, but I was somehow
able to clear that and...not quite complete it. For various reasons. The current 3.0 would need to wait until I could
complete it at my family’s home.
▲3.1 “True Ryu-Zin”

■ 3.1

I just couldn’t relax with the work left half-finished. Having no other choice, I decided to fold one more.

Just like with 2.1, I adjusted and revised the fine-details on the second iteration. The biggest change was expanding the
width of the skin to have some extra room. At the same time, the creases were completed on the exterior of the head
section, so I could use that as-is and change the large horn from a sharp angle to a belt-like shape. That small adjustment
greatly changed the overall image.

However, I decided that the due to the paper size, making finer scales would unfortunately not be possible, and so 3.1
skipped that point.

■ To The Next Version

Now, I had solidified most of the design elements in 3.1, and thought I was finally nearing completion. However, to my
terror, more improvement points emerged. Organizing the internal structure, strengthening the fingers, reexamining the
eyes and surrounding area, etc. The “Ryu-Zin” is still evolving.

To the creator of every work I was able to reference in the creation of this final Ryu-Zin, as well as toward the many
people who gave me their opinions, I am deeply grateful.

POSTSCRIPT: RYU-ZIN 3.5

While writing this draft, I saw the possibility of further improved versions, and so currently I’m continuing production.
The change-points will be to refine the fingers and internal structure. The foundation is 96-part, the scales are 192-part,
and I’m utilizing a unique 3:4:5 right-triangle form for the internal structure (or rather, I couldn’t avoid using it…)

This time I’m using an even larger paper so that I can with the scales properly. By the way, the scales number close to
1200…

Also, this time I’m also producing the crease pattern alongside simultaneously. (Or maybe I should say that the crease
pattern is proceeding ahead first.) Estimated completion date…to be determined.