Forger’s Full Boxpleat

guide
Contents
0. Introduction ..................................................................................................................................................................... 2
1. Boxpleat Beginner ........................................................................................................................................................ 3
Exercise 1 ............................................................................................................................................................................ 5
2. Boxpleat Middle Flaps ................................................................................................................................................ 6
Exercise 2 ............................................................................................................................................................................ 9
3. Stretch Polygons ............................................................................................................................................................ 9
Exercise 3 ......................................................................................................................................................................... 12
4. Collapsing and analysing CP’s ............................................................................................................................... 13
Example 4 ........................................................................................................................................................................ 15
5. Designing your own models ..................................................................................................................................... 16
Answers.................................................................................................................................................................................. 16
10. Appendix ....................................................................................................................................................................... 18
 0. Introduction
This is an article on a “new” collapse and designing technique for boxpleating, viewing origami design in a
different light. Instead of thinking of paper as a plane that must always be flat, it is more beneficial to
imagine the paper as clay-like; something that is malleable and stretched. Origami is the same as sculpting
clay, but with limitations: you cannot split the clay into 2 pieces and you cannot add or subtract additional
clay to your initial lump. Now, let us try to make something out of the lump.

[figure 0.1 clay lump]

With our lump of clay, let us try to make a simple stick figure. Starting from a basic lump like so, we will
form legs and arms. How is this done? There are probably 2 main ways you can think of: pinching the clay
to extend out the legs, and cutting the lump to form 2 leg shapes.

[figure 0.2 cutting and pinching clay]

Obviously, it requires clay to create these legs, so how come we can magically pinch out some legs from
seemingly nowhere? The clay to make the legs comes from the “main lump”. When the legs are pinched out,
the main lump will shrink slightly due to some clay being transferred towards the legs. This is similar to the
“splitting” method, where the main lump is cut to form legs and shrinks slightly as a result.

The arms and head can also be formed in the same way. It is very clear now that the main lump is being
shrunk because of the arms consuming the clay.

Keeping this in mind, how do we transfer this knowledge to origami? Being able to sculpt paper as if it were
clay would increase the amount of freedom one has with their designs. This concept will be explored deeper
in the article.
[figure 0.3 arms and head]

1. Boxpleat Beginner
To convert a paper into a “clay lump”, I use the design method called “Boxpleat”. In short, this method
utilises a grid in order to create and arrange flaps. The foundation of boxpleating is its grid, therefore it is
wise to learn how to efficiently fold grids before proceeding. Grids do not have to be perfectly neat,
contrary to popular belief, as the model in the end will be shaped and sculpted, deviating from the
“perfect” grid. Here is a quick method for folding grids.

[figure 1.1 grid guide]

To make this grid into a “clay lump”, the paper needs to become more flexible. This is done by using an
accordion fold through the entire grid. By making an accordion fold, the paper becomes extremely flexible
perpendicular to the direction of the accordion. Note that by convention accordions are done vertically.

[figure 1.2: accordion fold]

From this “clay lump”, we can start the “pinching” and “splitting” of the paper to create a base for the
model. This technique in origami is known as the “Elias stretch”. This technique essentially splits the accordion,
resulting in 2 “flaps”. On the grid, the elias stretch looks like a “v” shape. Through different combinations of
elias stretches, basically any design can be folded. Each side of the “v” is called a ridge.
When combining different combinations of splits, the length of a resulting flap is going to the length of the
shortest ridge of the split. In order to keep track of the length and location of the flaps, a diagram called a
“tree” is used.

[figure 1.3: elias stretch, cp, tree]

Splits can be of different sizes and overlap each other. The height of the stretch will determine the length of
the resulting flaps. Try imagining the space inbetween the flaps is being pushed inwards in order to create a
split for the flap to form. A helpful tip is to think of the paper not as a rigid plane, but a flexible material
such as clay or fabric.

[figure 1.4: clay split]

Some different variations can be seen in [figure 1.5]. Overlapping splits can create flaps which do not
originate from the main accordion. It can be thought of splitting a long, wide single trunk into smaller
branches. The branches can also be “cut short”, not reaching to the full length of the paper. Just along the
top edge of the paper, many combinations of branches can be formed.
[figure 1.5: variations of elias]

The one important feature to note with splits is that it always requires the accordion to be “fanned out”, then
collapsed. This may seem like common sense, but it is very important to keep track of the direction of the
accordion, otherwise you may end up trying to add in a split where it is not possible. The accordion must
also have a suitable length and height to be split as well. This will become more relevant when designing.

[figure 1.6: cannot split without accordion]

Exercise 1
1.1: Fold a 24 grid using the technique from figure 1.2
1.2: Using the 24 grid, fold the tree below. Do this without drawing a CP.
 2. Boxpleat Middle Flaps
These splits have all been executed on the edge of the paper, but this is also possible to do this in the
middle. Remember to do a split, there must be an accordion that can be fanned and stretched out. This is
done by first making a flap in the middle of the paper to be split. [figure 2.0] Note that the vertical height
of the paper decreases drastically.
Once done, the flap needs to be “fanned out”. This can be done in 2 ways: double layer or single layer.
The double layer is the most straightforward to understand. We simply unfan the flap as usual, and then
refold the accordion by “combining” the 2 layers and folding them at the same time. This forms a “non-raw”
accordion edge which can then be split as usual.
The single layer is done by splitting each accordion separately as its own layer. It is basically “reflecting”
the elias stretch, doing it twice in the same step.

[figure 2.1: middle split (single layer tech)]

Both methods have their merits and demerits. The double layer technique is easy to collapse, however it is
messy and difficult to integrate as it may not always lie perfectly flat. Splits are very limited and virtually
impossible to modify without a lot of planning and foresight. The single layer technique is much easier to
integrate but can be slightly difficult to collapse for those with skill issue. Generally, the double layer
technique is only used in specific niche cases. Unless stated, the rest of the article will focus on the “single
layer technique” when referring to middle flaps and splits.

Again, the middle splits can be modified similar to the regular edge splits. However, because there are 4
ridges in a middle split and to keep the accordion above and below intact, there are more combinations
and rules that should be followed.
We must first observe the “original” middle flap before the split. If the main accordion is called the “trunk”,
we can think of the “original middle flap” as a “bough”. (term for branch directly connected to the trunk)
We shall refer to the figure in 2.2. The bough length is 6 and spans across the whole paper, which is 20.
These are our so called “restrictions”. Because the bough length is 6, we cannot make a split larger than 6. If
we made a split of 7, you would split beyond the bough into the trunk, which may cause some unintended
side effects. For now, which shall make a split of size 6. [figure 2.2]

[figure 2.2: “boughs”]

From splitting this “bough” we gain 2 new flaps, or “branches”. This is where we can observe the “diamond”
shape in the CP. These branches can be further split into smaller branches. However, the split must not
exceed the size of the branch. If we look at the cp, if we create the biggest split possible, we result in 2, 3
unit flaps. When splitting branches in this way, the total sum of split branches must be equal to the original
length of the branch.
For example, we can create 3, 2 unit flaps, a 2 unit flap + 4 unit flap, 6, 1 unit flaps and so on. We cannot
make 4 unit flap + 3 unit flap because that sums to 7 units, which is greater than the original 6. Similarly, we
cannot make a 2 unit flap + 3 unit flap, as that is only 5 units. We cannot keep splitting the paper as much
as we want, as there is only a limited amount. [figure 2.3]

[figure 2.3: sum of splits]

The ”bough” can actually be split multiple times. Splitting the bough and splitting branches is different, as
when splitting a bough, you are consuming the accordion contained in the bough, to “add” another branch.
On the cp, this is seen as consuming horizontal space. However, when splitting a branch, you are splitting the
branch itself to create smaller branches. This is why splitting a bough doesn’t reduce its length, while splitting
a branch does.

[figure 2.4: additional boughs]

We can continue splitting the boughs as long as we have horizontal space. We can also do more interesting
things than just creating different sized boughs. Similar to edge splits, we can modify how we split them, but
in a “reflected” manner due to how middle flaps work. Also depending on how we split them, we can also
add even smaller splits inside of them.

[figure 2.5: boughs and more splitting]

The last main technique that can be used on middle flaps is shifting. Shifting is when we shift the bough to a
different location on the main trunk. This allows for more flexibility on the location of flaps. We shall start
with the same 6 unit split from [figure 2.2]. As you can see, the flaps originate from the same location. We
can extend the ridges to form a rectangle sort of shape, changing the origin of the right flap to be 1 unit
lower on the main trunk.

If you remember the clay analogy, you can think of it as “dragging” down the flap to a lower location on
the main lump. The flap itself does not change, only its location. This “dragging” causes the clay in the centre
to “flow” downwards towards the new location of the flap. When we convert back into paper, this “flow” of
clay requires extra paper, due to the rigidity of paper**. This is seen in how a unit of horizontal space is
required to shift the flap down by 1. In fact, for every unit if vertical space the flap moves, 1 unit of
horizontal space is also consumed.
[Figure 2.6: shifting]

Exercise 2
*use the 24 grid from Exercise 1

2.1: use a split in the center of the paper to create the tree
2.2: modify the fold to match the following. (hint: use shifts)
2.3: modify the fold to match the tree. (hint: blue = use bough split)

3. Stretch Polygons
Only so many flaps can be fit on the edges, so we must be able to use the middle of the paper efficiently as
well. As seen in the previous chapter, from a simple diamond, a lot of wacky shapes can be made. Let us call
these shapes “stretch polygons”. When trying to analyse or create stretch polygons, it is vital to start from
the most basic polygon and move up from there. Also remember that accordions are by convention vertical.

Stretch polygons are fairly simple shapes. They only follow 2 rules: they must either be closed, or terminate
on the edge of the paper. If these rules are met, then it is possible to fold it in a simple straightforward
manner.

Stretch polygons are essentially a double sided split. By simplifying them, they can be read and
subsequently collapsed. The simplification process is the reverse process of turning the regular diamond
shape into the final polygon. That is, middle flap split > shift > split. This is the same as what was done in
exercise 2.

[figure 3.1]

The simplification process is split > shift > middle flap split. To undo a split, we must combine all the smaller
flaps into 1 single large flap. This is done by finding the outermost splits and extending them. [figure 2]
Undoing a shift is turning the polygon back into the diamond, shortening the splits so that the pair of flaps
share the same origin.

[figure 3.2]

A benefit of stretch polygons is how independent they are, as they only affect paper which is on the same
horizontal level. [figure 3.4] This is important, as they preserve the main accordion above and below. By
preserving the main accordion, more stretch polygons can be simply be stringed together above and below,
as long as their horizontal areas do not intersect. Stretch polygons can also be moved around anywhere on
the paper. In [figure 3.4], moving the polygon to the right does not change the base, it only moves some of
the layers from the right side to the left. It still perseveres the accordion above and below.
[figure 3.4]

Once we understand a single polygon and how it affects its surroundings, we can move onto a system of
polygons. Other than adding polygons above and below, it is possible to add them horizontally. Let us
consider 2 simple stretch polygons next to each other and collapse it. [figure 3.5] Modifying the outer flaps
remains the same as before. Splitting the flap and shifting is still possible without disturbing the center flap.
It is recommended to fold [figure 3.5] yourself to see why this is the case.

[figure 3.5]

The center flap does not change its position or length, which is to be expected. So, let us attempt to modify
it. Splitting the center flap is doable. We must split both sides with the same sized split. Keeping the splits
symmetrical will allow for simple splitting and will always work. [figure 3.6] As mentioned before, we can
move the polygon horizontally to add or remove layers to the flaps.
[figure 3.6]

Repeating the splits in a symmetrical manner is simple, but what if you want to have 2 completely different
polygons next to each other? There are some restraints which must be followed. Firstly, the number of splits
must be the same. These splits can be different sizes and positions however. Secondly, the “tips” of the flaps
must align with one another. The “origins” do not have to align, however this results in the length of the flap
being equal to the shortest stretch. This is useful if you require strange layouts or asymmetrical designs.

[figure 3.7]

Following these rules will allow for some complex looking shifts and flap arrangements, but will still be
possible to collapse in a straightforward manner. The best thing is that even after all of these modifications,
it still does not affect the main accordion above or below. This allows for the edges to be freely used as
normal, or simply adding even more layers of polygons.

Exercise 3
3.1: Use 3 polygons to draw a cp for the following tree from a 16 grid. (green = trunk = main accordion.
Will not have any polygons going through this area.)
 4. Collapsing and analysing CP’s
If you have been diligently been following along with the exercises, you should now be overqualified to
collapse CPs. As mentioned before, most BP CPs should be able to be collapsed easier when broken down
into their polygons and stretches. Once we have our “main trunk”, we begin splitting it up into the “boughs”,
then the smaller branches. Obviously, labelling something as a “bough” or a “branch” can be completely
arbitrary, but the main idea is to collapse a larger flap, then split it into smaller ones.

So, let us walk through a CP which actually creates a model. The example design will be Bodo’s Pteranodon
skeleton.

[Figure 4.1: Full CP]

The first step is to get rid of all the unnecessary creases. Most cps will include every single crease in the
design, however this is very unnecessary as it convolutes the main structures and makes the collapse more
confusing.

[figure 4.2: simplified cp]

We should now try to identify the “boughs” and polygons we should collapse first. We can also try to group
the branches which originate from the same bough, to further reduce the clutter. Remember that polygons
can terminate on the edge.

[figure 4.3: simplified branch cp]

We can now begin to collapse. Remember to start with the main accordion first.

[Figure 4.5: collapsing the main boughs]

After this, simply start expanding the branches from the boughs accordingly. This completes the base of the
CP and leaves only the shaping. (no drawings here �)

Example 4
4.1: Identify the main “boughs” of the cp below, and form a simple plan to collapse. (Cat + rainy day cp by
forger)
 5. Designing your own models
Make a tree and collapse it. �

Answers
1.1: fold 3x3 grid > divide into 6 > apply figure 1.2 method
1.2:

2:

3.

4.
-----------------------

10. Appendix
Split: used interchangeably with elias stretch.

Shift: moving the origin of a middle flap relative to the main trunk. Normally done by “extending” the stretch
polygon.

Bough: a middle flap which directly originates from the main accordion. Just another wacky term that I came
up with…