Origami Butter flics book One Michael G. LaFosse Richard L. Alexander and Greg Mudarri TUTTLE PUBLISHING Tokyo * Rutland, Yermont * SingaporePIOVPIEOM Ney fold and unfold valley-fold mountain-fold _— fold to indicated line magnification of model tw) Ua turn model over rotate model apply pressure in pull-out paper direction shown: squash fold, inside- reverse fold, etc. Contents The Butterfly Design System 16 7 18 19 Using the Butterfly Design System Butterfly Base Stages Upper & Lower Margins Introductory Folds Squash-folding Color Change Wonderful Wings Butterfly Head Style 1 Butterfly Head Style 2 Abdominal Taper Projects 20 22 25 28 A Butterfly for Alice Gray The Lillian Evangeline Fritillary Alexander Aztec Swallowtail# Origami Futterttics Using the Butterfly Design System Discover your own “species” with LaFosse’s design system. Michael LaFosse’s origami butterfly design system is based on sequentially squashing rectangular proportions, so there are many Possible ways to handle the extra paper available when starting from a square, Some can be temporarily stored in the wingtips, then pulled out to form beautiful color change patterns. Some can be used to pro- duce a segmented abdomen. Some can be rolled beneath the forewings to accentuate ‘the seperation of fore and hindwings. The LaFosse Moth begins with a blintz to pro- fe even more extra paper for later use in exotic treatments. There are an unlimited Number of choices that can be combined in different ways throughout the process of folding the rest of the model. Heve fun by experimenting with the vari- ables of this system and open your mind and hands to the endless possibilities of paper folding. Butterfly Base Stages The form will be determined by the choices you make in the following pages. Establish Horizon Line 5 j wee oe 19Color Change 8 (page 14) 9 Abdominal/Head Delineation Fold bas "he Head Details (pages 17 and 18) Abdominal Taper (page 19) The Butterfly Base Origami tuttertties 5 6 1 | @ -os Squash-folding (page 12) a Squash folding (page © Wing Details (page €Oo Upper & Lower Mar gins (Flaps & Corners) ‘Astounding variation is derived from just the initial folds. Typically, you fold the paper in half first. This "horizon" fold becomes the buttertly’s “waistline” and a portion of the length of the abdomen. Subsequent margins, from folds made paral- lel, and toward the horizon (whether forward or backward) are “introductory flaps" whieh provide diversity. (ome Lom — fe DO MUS mC ‘There are many ways to form margins. The edges could meet the horizon, be folded in at any fraction, or be placed either on the front o folded to the back. itis often easi- fest to tuck in all or at least some of the cor Corner treatments could be either mountain or valley-folds, and there is no reason to be limited to 45 degree angles. if ZN J) SJ Li «LALAr a ee i | | iOrigami but Introductory Folds The first fold will almost always be a “book fold.” Fold the paper in half with the oppesite edges touching, just as you would close a book. = This forms the horizon, or waistline, of the but- terfly. (When you begin to design your own but- terflies, explore what happens when you fold the paper not exactly in half.) When trying to obtain a fold where you only need a reference point to find the correct measurement, make a “pinch” mark at the edge (or edges), instead of 2 full crease. Shorter fold-overs often require marking both sides for accurate symmetry.Origams Futtertties 9 The Origamido Butterfly (left) starts from a double, '/¢ valley-fold (cupboard fold). "The Lillian” (right) starts from ‘Je and 3/16 valley-folds with beveled edges. For a the fold, bring the V4 and 1s pinch marks together and make a crease. This is perhaps the most popular ratio used in Michae!'s designs, since it results in a pleasing amount of “top paper” for the wings.Unless otherwise noted, the corners will be valley-folded to the crease, creating 45-degree angle bevels (you may wish to experiment with other angles). Pal Wel XN at Mountain-olds are shown with dotted lines:Origami tuttertties 11 When you experiment, try some initial folds based on proportions other than one half.Squash-folding Technique shown with plain 8.5 x 11" paper, but any rectanglar sheet will do. This series of squash folds is used in a majority of Michael LaFosse’s designs within his but- terfly system, so take the time to master and memorize this series of folds carefully. Valley-fold in half once 9 again, then stand this half up, perpendicular to the table. Valley-fold in half. Squash-fold, using the 1 5 existing crease line (second valley fold) to center the squash. (Note: This second line may not always divide the paper J Turn over. exactly in half.) ve ee ee Align the lower right corner to the center of the top. Push the mountain fold flat, directly over the crease line made in the second valley fold. Squash the other flap Fold corner to end of Turn over so the trian- % using the same crease hb gap. Arrange corner Po corner is flat on to center the resulting 90 degrees (perpen- the table. triangle, as before. dicular to the flaps). Open by squashing $ both wings using the new crease to center the wing flaps. Finished base for 9 LaFosse's original 8'/2 x 11" origami butterfly.Color Change The LaFosse origami butterflies typically have two layers showing on the wings: “top paper” and “tip paper.” If you choose to fold the paper in half as a valley-fold, the “top paper” will be same color as is on the outside of the folded packet. This system displays color contrasts and patterns beauti- fully, so take charge of what shows, not only on the wings, but on the head and abdomen! This decision allows the flaps to be manipulated for pattern and design (as shown in our next variable, wing details). Below is only one example showing the effects of this single decision. (Remember that your previous choices also affect the outcome.) The decision in this step is partly demonstrated in the differences between “The Nolan (left) and “The Baxter” (right), for example.Wonderful Wings Wing patterns and details make the butter- fly. You may discover dozens of possibilities as you explore the land- scape of a square sheet of paper. Apply your designs to many differ- ent types and sizes of papers for an infinite Form body between variety of new species. the two wings, creat- The examples to the ing a point at the top. right illustrate a few Turn over. wing variants using the Origamido Butterfly. 20); @ © — Make a slight pinch on De underside, bring- ing mountain-folded edges to the center, just in the head area. Turn over. When you separate the forewings from the newly formed layers. Since it is quite small, hind-wings with a crimp, accentuate the sep- _ the wing notch fold is shown up-close, in Press center mountain Fold flattened point The Stylo #1 head, aration with an inside reverse-fold. This detail. After the notch is made, further Se squash the head Ae the underside. 5 resulting notch allows additional wing sepa- indentation is possible, as shown in the Se: flat. Two smaller ration and wing detail possibilities using the —_right-most two circles above. mountain folds result.Butterfly Head Style 2 Use the following head when the top of the body does not come to a sharp, single point. Squash-fold the center Inside reverse-fold the mountain fold. 9 new corners into the center. Turn over. Valley-told Turn over. The Style #2 5 A new flaps 5 & head. below where they will not show. Abdominal Taper Before After Close the wings together and fold the excess bottom corners inside the body. Note in the detail that you must pinch the layers together and fold the corners in. You do not have to open the body paper too much to do this. After the corners have been tucked in, notice that the taper of this fold narrows towards the back end of the butterfly's body.MS = BUR ER FL ES ORIGAMI! A A Butterfly for Alice Gray As a teen, Michael met with Alice Gray, an eminent entomologist from the American Museum of Natural History (and an origami advocate). While they conversed, Michael nervously folded paper. Lo and behold, a new origami but- terfly was born! Michael perfected the model, and named it for Alice. Valley-fold in half. Begin procedure for squash-folding. Fold body over top wing paper (use the superimposed line as a guide), allowing the wing paper to come out below. Final wing squashes. Fold wing to wing, sandwiching body paper between. Start with a 3/16 beveled introductory fold on both sides. Rotate and turn over the POS model. Mountain-fold in half. uN Refer to page 17 to create the head using butterfly head fold #1, Use the abdomi nal taper as shown on page 19.22, s E BUTTE RF L SA ht! The Lillian | This butterfly is named for Lillian Oppenheimer, founder of the Origami Center of America, for doing so much to popularize origami. Lillian’s dream for people to share friendship through origami has been continued and expanded by OrigamiUSA. Q)or, -O Start with a 4/16 beveled introductory fold on the bottom and a '/e bevel on the top. Rotate and turn over. Base. Swivel-fold hindwings to form shape in diagram #5. Begin squash-fold- ing. ¢ Ae Roll the bottom edge of each hind- wing as far as it can go (while remaining flat to the bottom corner). Crimp (mountain and valley-fold at the mid-section of the wings) to flatten paper and form wing separation. half. Wing Squashes. Apply wing-notch technique. Mountain-fold inhe i Beetats anon le. S ORIGAMI Fold body paper over the top wing paper, allowing other wing's paper to come out from beneath. Open. Mountain-fold shown edges inside. ay Fold wing to wing, Apply abdominal sandwiching the taper. body between. Apply butterfly head fold #1. The Lillian Butterfly in various colors and treatments folded from handmade duo papers produced at Origamide Studio. Evangeline (Van) Rossi encouraged Michael to pursue his artistic interests while he spent time with the Rossi family at their summer camp as a youth. The beautiful natural surroundings also inspired her son, Paul, to become a painter.Apply head style Fold the wing-notch Open wings. Pecos down. $ 5 1. Round the hindwing corners with valley-folds. Fold a 2 x 1 rectan- Fold bottom corner | - in half both 9 up center, but not ways. Perform the to the top. usual squash for the result in Step 2. Crimp (roll hind- The result. Apply Fold the wing Close the Apply A wings under the 5 wing-notch details. hb together, sandwich- 1 ~ wings. 1 E Abdominal forewing. Fold abdomen point ing the body. taper. Open over to touch mountain. wings.Bee Pd BaU ee Ee Riba bs I eo, ORLG AMI Alexander Aztec Swallowtail Michael developed this zig-zag patterned variation with “Aztec-like” trian- gular decorations. The model helps to illustrate how the excess paper can be used to full visual advantage. As before, start with a 3/14 beveled introductory : fold on the lower front, and a '/s bevel on the back of the top. Make sure the 3/16 bevel is an outer bevel, showing corners on the front. (That is the only dif- 4 ference at the start of this model from the Alexander cd Swallowtail.) Rotate and turn over. Begin squash- folding. Keep the new corner in place. and the paper flat while you “fan-fold” back and forth to create the pattern in step 6. Valley-fold from the center of the Keep new cor- horizon, to the lower corner of the ner intact. Pull hindwing. Fold the new area in half the paper fold- to make the image in step 4. ed beneath. This cre- < ates excess paper that will not lie flat. Fold both hindwings to this stage.Pull hidden forewing tip paper J as far as possible. Crease to flatten (See step 8). Crimp (roll moun- Sone on the inner edge of the forewing downward, creat- ing a valley-fold). This cre- ates a new corner at top. Apply wing- ll tech- nique. Repeat with other wing. Fold outer-corner Qe aligning the edge with moun- tain crease from the pre- vious step. Mountain-fold ] 9 the paper under the wing-notch. Fold model in half. Valley-fold ] ip paper back from where the colors meet. Bring the triangle-tip back to the same point. Mountain-fold 13: body over the hindwing, aligning tip of abdomen to meet the bottom edge of the hindwing. Allow the other wing to come with it. Fold other wing over, sand- ] LN si body. Open, apply butterfly head fold #1. @® Apply abdomi- Hindwing detail. -~ 1 So taper. ] (presse behind. Inside-reverse. Pinch a moun- Result. 1 1 Sf vse = ib curl each swal- lowtail point.Eh Eh fF .we > Beueieds ERPs eS ORIGAMI Alexander Swallowtail Perhaps Michael's most popular swallowtail design, Michael named this butterfly for Richard L. Alexander, co-founder of Origamido Studio. Michael has developed many swallowtail butterfly designs using the curl- ing technique familiar to people who have folded the traditional iris or lily. Start with a 7/16 beveled introductory fold on the bottom and a 1/s bevel behind the top. Rotate and turn over. Valley-fold in half, beginning the squash- folding procedure. The base figure. Roll each top hindwing inner edge over as far as it can go, flat, to each bottom cor- ner. Crimp (mountain and valley-fold at the mid- section of the wings) to flatten the paper and form wing separations. Rall each top hindwing inner edge over as far as it can go, flat, to each bottom corner. Crimp (mountain and valley-fold at the mid-section of the wings) to flatten the paper and form wing separations. Apply wing-notch Fold body over the Fold wing to wing, technique. top paper of the sandwiching the Mountain-fold hindwing, allowing . body between, model in half. other wing to come out Apply butterfly head from beneath. fold #1.Apply abdominal Open. Mountain- Form each “swal- taper. fold shown edges lowtail” by pinching inside. a mountain fold at the bottom corner, fallow- 50 ing upward to the crease along each inner folded a Mountain-fold shown edge behind edge. Push inward. = to narrow the point. Pinch and curl sh outward to make a graceful shape. oa or - ie 2 co = x g . Fold top edges pe of forewing tips a P back, allowing a small triangle of color to show. (This is optional, and you could also try folding \ Michael named this model for Jonathan Baxter, an enthusiastic folder the shape in front, hiding born in New Zealand. For several years he worked tirelessly to put the color spot.) Charlotte, North Carolina, on the origami map with his Southeastern Origami Festivals.ale a BN fas @) Start with a 3/16 Jf) rvestcoy fold on the front top and bottom. Rotate. Open wing and pull Me free paper from top area as far as it will go while staying flat. Put the paper back inside the wing. 9 Begin squash-folding. 5 Result. shape over, using crease as hinge. Close top layer of wing. Repeat steps 4 & 5 with other wing. Open top layer of pe: hindwings and pull out the free paper from inside the bottom area as far as it can go while staying flat. 4 Fold indicated edge to crease. Fold multi-layered WV Roll top layer of Apply wing-notch Mountain-fold 8 hindwing upward, 9 technique. See ~ indicated stopping at the diagram #10. edges behind. hind corner. Crimp (moun- tain and valley-fold at the mid-section of the wings) to flatten. Mountain-fold Fold body Fold wing to 1 I in half, wing to 1 9: paper over the 13 wing, sand- wing. top hindwing, wiching body allowing other wing to come from beneath. Match corner point of abdomen to crease on hindwing. Fold intersects top center of head. between. Open. Apply head style #1. Apply abdomi- A nal taper. Open the wings.LaFosse named this butterfly for Michael Shall, an origami enthusiast from New York City. Michael Shall, Lillian Oppenheimer and Alice Gray trans- formed a New York-based group of folders into a not-for-profit organiza- tion to promote the sharing of origami; OrigamiUSA is their legacy. Start with a Begin squash- 3/16 introducto- 9 folding. ry fold on the front top and bot- tom. Rotate. Turn over, Open top fy paper of the hindwings and pull out free 5 Result paper from inside the bottom area as far as it can go while staying flat. Result. Open wing 5 A and pull out free paper from top area as far as it will go while staying flat. Repeat on other wing. Roll top paper Your paper i: the hind- 8 will look like wings upward, this, Apply stopping at hind wing-notch tech corners. Crimp nique, (mountain and val- ley-fold at the mid- section of the wings) to flatten.Mountain-fold 9 indicated edges behind. Fold wing 1 2: wing, sandwich- ing body between. Open. Apply head style #1. Bring out 1 4 hid- den cor- ners from inside the hindwings. Mountain- 10 in half, wing-to-wing. @ Fold the body 1 [eee over the top wing paper, allow- ing the wing paper to come out from underneath. Make the corner point of the body touch the crease on the hindwing. The fold made should travel to the top corner of the head paper. Use the abdominal gy) 13 taper. Open the wings. Fold cor- ] 5 ners in to form pat- terns on each hind- wing. Curl the tips of the hindwings (optional). Michael named this butterfly for Florence Temko, an authority on paper- folding and paper arts, and author of dozens of origami publications from England and America. Florence was one of the most prolific authors of origami books that Michael devoured as a youngster.~~ Pull out layer from Fold in front. Squash sides 8 wider side. g 10 aligning bottom corners of top layer shape with ae : 8 Make a 3/16 introductory fold = |: the front bottom, and a '/a bevel on the behind the A top. Unfold bottom front layer. crease below. QJ Mountain-fold in Fold a 1/4 introduc- Re-fold bottom 9 tory fold with 5 edge using the 3/16 A half, short edge to bevels. Unfold. crease from step #1. short edge. Rotate. Close-up: Feld Dev top down 1 Squash. [ieee edge to De the point. Jee Repeat 5 1 other wing. Roll top layer of forewing downward, 1 @ ‘ ] a top corner to folded edge -O™ below. Crimp (mountain and valley- fold at the mid-section of the wings) to flatten. 6 Turn over. TT fale Apply wing-notch technique.Fold corners Mountain- Fold the body 1 : inside. ] 62: wing to Doe over top wing. paper of hind- wing, allowing other wing out from beneath. Align abdomen point to crease on hindwing. Fold to the top center of head. Fold wings Apply abdomi- ) a. &. ; I 7 18= 19: taper. Open | bane em ke mY Apply head the wings. | : ; i u ; “ S85 he 8 Bee 6 | Michael named this butterfly for the Origamido Studio, a special place founded by Richard L. Alexander and he in 1996. In comparison to many of the other models, the Origamido Butterfly uses a different aspect of Michael's system. Consider these methods for your own designs.ae 4 Start with two, |- introductory folds (cup- board fold). 5 Squash. Crimp (mountain-fold along existing horizon, ap bring outside ends of the mountain fold down). The leading edge of the forewing will change as you do this. Carefully turn hindwing corners inside-out. Y Valley-fold short Squash. D sie together. 5 Rotate so the folded edge is on the bottom. 4 Turn over. Fold bottom Keep all of the Open top lay- 6 point up Pro neatly $ ers of hind- along the together. wings, squash center gap, making Squash. trapped paper to lie sure to leave a mar- flat. gin at top (not fold- ing it completely in half). Unfold. Valley-fold 10 papers up, and mountain-fold hind- wing corners under. Valley-fold 15 layer Papers over leading edge and tuck under triangular layers. \ Valley-fold in Fold wings to 14 15: sand- wiching body between. Open. Apply wing- [] tech- nique. Turn over. Valley-fold raw 19-= of forewing papers to the indicated folded edges. Valley-fold wing separation corners down. Mountain-fold hindwing papers under. a Apply head 16 W2 (since the center dows not come to a sharp palit),wo =) Boa ie fee oa Fee a bat Er ORIGAMI The J Ces Rockmore Michael named this butterfly for Joyce Rockmore, a founder of Paperfolders In New England (PINE), and TV personality of a cable-access show in Brockton, Massachusetts called Everybody Folds Something. Joyce enjoyed sharing new origami projects with friends. Start with three pinch marks, divid- ing the remainder in 1/2 each time to find the 1 upper one-eighth, then book fold in half. Valley-fold lower short edge to 1/e pinch mark. aN “Os Rotate. Turn over. Squash. Open to mark and Fold tips behind. squash corners. Turn over, Fold upper corner to bottom center. Unfold.a = Beer ee este bee ice |S: ORIGAMI Open to mark and squash, , Open and squash, Align abdomen tip to superim- posed refer- ence, allowing other wing to come out from beneath. ee SY? Fold tips Turn over. behind. Fold upper corner down over. Crimp wing Fold in half. separation by Wing-notch swinging detail. forewings downward. @y Fold other Apply abdomi- wing over to nal taper. Open. match tips and notches, sandwiching body between. Apply head style #1. Michael named this butterfly for origami artist and author J.C. Nolan, During an origami convention in New York City, Jay approached Michael about diagramming Michael's designs. Jay was on the cutting edge of using computer graphics programs for diagramming origami folds.2 @ Start with a 3/1s intro- Fold in half, and go Base result. Jo fold on the 9 through the squash- 5 bottom frent side, and folding procedure. the top back, Rotate. Open the top paper Forewings look like Roll top layer of Ae each wing and pull 5 this (wing shown 6 hindwing up, stop- out free paper from open). Repeat on ping at the hind- inside top area as far as it other wing. wing corner. Crimp can go, remaining flat. {mountain and valley-fold at the mid-section of the wings) to flatten. Apply wing-notch Mountain-fold indi- fcr $ cated edges behind. Hindwing: Where Fold new cor- i) lower flap emerges, 1 0 ner to indicat- fold corner up to ed area. area where colors separate. Fold corner to indicated line. Replace origi- Valley-fold Inside-reverse 1 5 nal folds with 1 dp and unfold. [LJ corner hidden inside.The wing will Mountain-fold Fold abdomen look like this. model in half. tip to the indi- @) 4 Repeat on the cated crease other side. line, letting the other wing at come from beneath. wi Ww a w f om) b B = a Fold wings Apply abdomi- - together, sand- nal taper. = wiching the 3 body. Apply head style #1. & o Pinch moun- tain-folds and curl the hind- wings slightly. This moth‘s design is quite different from the other projects in this kit, as you will see from the first step of “blintzing” (folding the corners to the center). It still obeys Michael's system of fractional set-up, followed by a sequential series of squash-folds.Make two creases to find the center, then “blintz” Treat the doubled J all corners to the center). Turn over. 9 packet as if it were a single-layer square. Use a °/16 introductory fold on the front side bottom and a '/s fold on Turn over. the front top. Rotate. 5 Valley-fold in half. Valley-fold the ver- 5 6 crease. “Os Valley-fold triangu- Repeat steps 7 and Fold bottom lar flaps down. 8 on the opposite 1 4} corner to the side. top of the central gap and unfold. Squash wings (see ] 1 step # 12). Pull the paper in the PD corns as much as possible and crease flat. Squash the hindwings outward. Pull out top layer at abdomen point. 13 The result. An x-ray view: 1 Ae folded edge up and I flatten. (Curve this fold to allow it to happen.) Zig-zag this ] 5 flap. Fold mountains and valleys back- and-forth for the abdomen segments (see step 16),= i] BeUCTA-E-RGF E-BE?S ORIGAMI The result. Widen the forewings by pulling out paper flat- Turn over. tening again, Fold corner of top layer up. Fold lower abdomen corners over. The result, Crimp. (Roll the paper over starting from the Turn over. mountain-crease in the center of the wings. It will pull the top corners of the forewings down. Flatten. Wing-notch details are optional.) Fold in half. Apply abdominal Swing taper. Squash the abdomen tip head and fold the to the indicated line, then end part behind. fold the wings together. Inspiration