For Michelle and Elizabeth

Acknowledgments
Thanks to John Montroll, friend and mentor, to Brian Webb, Paul Frasco, to everyone else who test-folded these models and gave me feedback and support, and to OrigamiUSA. Special thanks to Bob Plotkin for the wonderful photography, and to my Tuttle Publishing editor, Jon Steever, who was instrumental in shaping this book. Super-special thanks to my wife Jeannie for continually indulging me in my passion for origami and helping in every way imaginable outside of actually folding.

Credits
All models designed, folded and diagrammed by John Szinger. Photographs by Bob Plotkin.

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My Origami Journey

Origami is an endlessly fascinating and rewarding art form. It combines sculpture, mathematics, and creative expression in a unique way. Although its roots and traditions go back as far as the invention of paper, origami in the twenty-first century is exploding with creativity like never before, and finally coming into its own as a legitimate sculptural art form.

I've been folding paper most of my life, starting with paper airplanes at a young age. As I matured, I devoured all the origami books at my local library. I even experimented with my own designs. Life is full of many roads, and around the year 2000 I came back to origami after a long hiatus. I started attending conventions. I met an excellent community of folders and was inspired to really work at designing my own original models.

I began creating original origami purely for personal enjoyment. I undertook the task of diagramming my models for the OrigamiUSA annual collection as a way to share with fellow folders. As my repertoire grew, the idea for a book gradually began to take shape. Along the way I've developed a folding style that works for me and seems to produce nice results. I've spent the last couple of years focused on designing new models and making lots and lots of diagrams. I'm happy that it has all come together in the form you see here.

The range of models presented here is intended for intermediate to advanced folders who are looking to tackle some deeper and more challenging models. An intermediate folder can expect to advance as he or she takes on the more complex projects. The chapters generally progress from less complex to more complex, as do the models in each chapter. A good gauge for model complexity is the size of paper that I recommend (larger generally means greater complexity). The number of steps needed to complete the project is another good way to quickly size up the relative difficulty involved in folding a given model.

ON ORIGAMI DESIGN

If you're a folder you already understand the essential appeal of origami. If you're new to origami, jump in and discover the joy of creating something out of almost nothing; just a piece of paper and some creases. This minimal starting point marvelously gives rise to almost limitless possibilities. Like music, origami has a deep basis in mathematics, particularly geometry and ratios, and from this arises higher levels of expression. Unlike most art forms, which are either additive or subtractive with their media and materials, origami is purely transformative; nothing is added or removed.

This book is mainly about animals. Although many subjects—both representational and abstract—can make good fodder for origami, animals are among the most fun to design and fold. They have broad appeal, and can be as simple or challenging as you want them to get. Even exotic animals are somehow familiar in essence, and touch on something deep within the human psyche.

My design process begins with meditation on the subject to see if I have anything to say or an approach that looks promising. Which aspects of the subject to emphasize? What should be minimized or left out entirely? Should it have claws? Does it even need legs at all, or is a mere suggestion enough? The balance between simplicity and complexity is a central concern in the creative process. While I enjoy complex models, I don't like complexity for its own sake. It's only justified if it expresses something essential. This first phase, before the folder folds anything, is perhaps the most important. Every artist will answer the question differently, and that is one of the things that makes our art compelling.

Capturing something about the posture and attitude of the subject is important. Animals are lively: they move around and do things and are not in the same position all the time. Although a finished origami sculpture is (usually) still, I strive to capture something about the subject's style of moment. Is it strong or quick or fast or slow? The stance communicates much of this. One important area to concentrate on in almost any model is the shoulders and neck; the connection between the head and the body. This often speaks much more about the subject than making detailed and anatomically correct appendages.

The level of detail and realism I'm going for informs the kind of base I need to develop. I may not always think in terms of a traditional base, but I do think in terms of what features will develop from what part of the paper and how. Developing points is one consideration, and indeed technical knowledge of how to create the points needed for legs, tentacles, claws, and antlers, etc., is essential. But that is only one aspect. Equally important is how to develop the form of the body, to control where paper is concentrated in the model, where the weight and the thickness lie. Every point generates an equal or greater amount of paper that needs to be tucked inside the model or used somehow. My tendency is to create points where needed, usually from the edges of the sheet. In fact, many of my models are just one layer of paper thick for the greater part of the body. This helps me maximize the size of the model and avoid thick masses of folds that are hard to deal with. Thickness at the edges is good for strength, and weight can be used for balance. It also allows for more freedom to sculpt the model when the finishing stage is reached.

One endlessly fascinating question in origami is symmetry. Most traditional models use 22.5-degree symmetry, which is easy to develop and fine as far as it goes. But why can't the paper also waltz? One feature of my work is the use of alternate geometries, one-sixth and one-fifth, and polar or rotational-based symmetries. Models made with these alternate geometries can have a grace that the traditional symmetries lack. Of course it's always a question of what is appropriate to the subject.

ON FOLDING

All models in this book can be folded from a single square, most from a six- or ten-inch sheet. Kami or foil will work for pretty much all of them, but for the more complex ones, or if you want to fold an exhibit-quality model, you'll want to take some care to select the right paper.

For complex models, my preference as a sculptor is towards larger sheets—12, 15, or even 19 inch. Many advanced folders prefer thin papers, but for my models that will often be too floppy. I tend to get the best results from thicker papers. Most of models in the book will work quite well folded out of papers like Canson, Wyndstone, or Tant. These papers are quite attractive and available in a variety of colors in larger sizes. As a go-to paper for advanced models, Marble Wyndstone, also known as Elephant Hide, can't be beat. Of course, it's not cheap, so I don't recommend using it for a first attempt.

Finding good two-colored paper for complex color change models can be a concern. I sometimes use scrapbook paper, although finding the right sheet for a particular subject can be hit-or-miss. I prepare my own paper from time to time. One method is to paint a sheet of paper on one side. Another is to create tissue foil. This is done by taking a piece of foil and laminating a sheet of tissue paper of the desired color to one or both sides. You can also laminate a sheet of tissue paper to one side of a paper such as Wyndstone.

Mastering a complex model is similar to mastering a complex piece of music. You may not get it perfect on the first read-through. Instead, take the opportunity to learn to model. This means working through any difficult sequences until you understand them well, and also looking for opportunities to maximize expressiveness inherent in the model. Repeatability is the important quality in the first phase, and individuality in the second. I've been folding some of these models for years and I'm still finding new ways to bring out the subject in the finishing phase.

As for understanding the diagrams, try not to worry too much if you encounter a difficult step or sequence. Understanding comes with experience. Working through a challenge makes you a better folder. Always look at the next step to see how the current fold is supposedto turn out. When you come across a complex collapsing step that involves multiple creases, it always comes down to just letting the paper do what it wants to do. In this book, the most onerous collapses are hidden once the model is finished, so just do your best to do it neatly and move on.

For complex models I oft en do a thing I call "putting it in the oven." I fold up to just before the point where the model becomes three-dimensional, and then stop to press the model flat by putting it under a pile of books overnight. This helps to really make the creases permanent so they tend not to unfold over time.

If you wish to wet-fold, save it for the final sculpting. Once you've finished the model, let it sit a day or two to see where wet-folding might be needed. I typically just wet-fold the thickest parts. A dab of water on the inner (non-visible) side of the crease will do. Once it's wet, pinch it flat with a paper clip or binder clip. Leave it dry overnight and remove the restraint the next day.

So here it is, my new collection of models. Happy folding!

JOHN SZINGER
www.zingorigami.com

Asian Elephant

For thousands of years these graceful, majestic, and intelligent creatures have been an important force in human civilization. Elephants make a particularly fun subject for origami. This model uses a variation on my Bear Base for the body, with a sculptural three-dimensional head. Feel free to vary the pose of the trunk.

Recommended paper: 12" square or larger. Two colored paper will yield color-reversed tusks.

Begin with a square, white side up.

1. Valley fold and unfold on the diagonals.

2. Kite fold and unfold on both ends. Turn the model over.

3. Valley fold three corners toward the middle.

4. Perform three rabbit ears, then turn the model over.

5. Fold and unfold.

6. Fold and unfold.

7. Valley fold the corner to the indicated point.

8. Reverse fold the two flaps.

9. Reverse fold the two flaps out again to be flush with the edge.

10. Fold the top flap behind and swing the near flap up.

11. Pull out some paper and flatten.

12. Fold the model in half while reverse folding the flaps at the middle and bottom.

13. Sink.

14. Crimp.

15. Reverse fold to tuck inside. Repeat behind.

16. Reverse fold. Repeat behind.

17. Open the flap slightly and squash down. Repeat behind.

18. Fold and unfold parallel to the back edge along a hidden landmark.

19. Crimp.

20. Reverse fold. Repeat behind.

21. Pull out a flap at the tail. Pull out a flap at the foot. Repeat behind.

22. Reverse fold at the tail. Crimp to form the feet. Repeat behind.

23. Squash fold to tuck inside at the tail. Repeat behind. Reverse fold the tip of the front foot. Repeat behind.

24. Squash fold to thin the tail. Repeat behind.

25. Outside reverse fold on the tail. Fold a small amount of paper inside at the feet. Repeat behind. Swing the head up and flatten.

26. Outside reverse fold on the tail. Sink at the top of the head. Tuck in a flap at the neck. Repeat behind.

27. Sink at the hip and the shoulder. Tuck in a flap at the belly, repeat behind. Crimp to form the trunk and make the model three-dimensional.

28. Puff out at the hip to make the torso three-dimensional. Tuck in a flap at the belly. Repeat behind. Tuck a flap inside to narrow the trunk. Repeat behind.

29. Sculpt the legs and belly. Narrow the tusks.

30. Crimp the trunk downward. Curve the tusks upward.

31. Perform multiple crimps to sculpt the trunk.

32. The completed Asian Elephant.

Adirondack Camp

This is the only section not concerned with living subjects. Built objects offer their own design challenges. Foremost among these is that model must assume its three-dimensional form and hold together securely. These intermediate models are all inspired by the natural world, particularly the Adirondack Mountains and their environs. Choose a larger sheet for the Lean-To if you want to fold the Adirondack Camp objects to go together as a set.

Canoe

Cutting through the cool, smooth waters of a northern lake, almost silently; the only sound is the slight splash of the oars. Around the next bend you might spot a butterfly, a loon, or even a moose. In a canoe you can see many special places that you could not reach otherwise. This canoe features a fully three-dimensional, sculptural design, and even has a little bench.

Recommended paper: 6" square or larger. This model works well with a variety of papers including typical origami paper. For thicker papers you may wish to wet-fold the crimps in step 13.

Begin with a square, white side up.

1. Fold and unfold the diagonals. Turn the model over.

2. Fold two opposite corners to the center. Turn the model over.

3. Fold two opposite edges to the center.

4. Rabbit ear the two corner flaps.

5. Squash fold the two tabs to form the bench.

6. Fold the two edges under, locking the tabs together.

7. Fold the edges to the center through all layers and unfold.

8. Fold the model in half.

9. Make reverse folds. Rotate the model clockwise slightly.

10. Reverse fold the tip of the near flap on the left.

11. Valley fold the remaining tip into the pocket created in step 10.

12. Repeat steps 10 - 11 on the right.

13. Tuck in the tips.

14. Open the model to make it three-dimensional. Crimp the notches to shape the hull. Repeat behind.

15. The completed Adirondack Canoe.

Lean-To

This particular variety of shelter is ubiquitous in state parks and woodlands in the Northeast. A lean-to is open on one side, and usually built of logs. The floor is raised off the ground and roof overhangs to allow the interior to stay dry and be warmed by a fire. Some lean-tos are built on islands accessible only by canoe.

Recommended paper: 8" square or larger. Two-color (duo) paper creates a nice effect but is not essential.

Begin with a square, white side up.

1. Fold and unfold one diagonal only.

2. Fold the other diagonal, creasing only in the middle. Unfold.

3. Fold the two corners to the mark, again creasing only in the middle. Unfold.

4. Fold the corner to the mark and unfold.

5. Fold the corner to the mark and unfold.

6. Fold two corners in, using the two diagonal creases as limiters. Fold and unfold the other two corners.

7. Fold the corner to the indicated crease and unfold. (Fold only between the two diagonal creases.)

8. Valley fold one corner down; mountain fold the other corner behind. Rotate the model clockwise 45 degrees.

9. Fold and unfold.

10. Turn the model over.

11. Crimp the two sides. The model will not lie flat.

12. Here is an enlarged view of the top part of the model. Fold the flap behind and unfold.

13. Unfold to step 11.

14. Turn the model over.

15. Fold so the indicated points meet and unfold.

16. Fold and unfold.

17. Crimp along existing creases.

18. Fold to make the model three-dimensional. Turn the model to the right.

19. View from the right. Fold and unfold the flap that's sticking down.

20. Fold and unfold again.

21. Unfold to step 18.

22. Repeat steps 18 – 21 on the left.

23. Mountain fold the flap underneath.

24. Fold to make the model three-dimensional. Turn the model to the right.

25. The view from the right. Valley fold a hidden flap.

26. Valley fold the flap again.

27. Valley fold the flap a third time, tucking it into the pocket.

28. Turn the model over. Repeat steps 24 – 27 on the other end.

29. Crimp to form the roof.

30. Mountain fold on the near side to narrow the flap. Repeat behind.

31. Swing the roof downward and crimp on both ends.

32. Tuck in a flap. Repeat behind.

33. Mountain fold a hidden flap to lock the roof. Repeat behind.

34. The completed Lean-To.

Adirondack Chair

Nothing beats relaxing on a long warm summer evening, out on a deck or by the side of a lake, watching the birds and insects glide on by, listening to their singing and buzzing. A traditional fixture of the mountains, an Adirondack chair is made for relaxing. This model took a fair amount of experimentation with the proportions, to develop the detail on the backrest and to make the legs hold together.

Recommended paper: 6" square or larger.

Begin with a square, white side up.

1. Fold and unfold the diagonals.

2. Fold two opposite corners to the center. Make a short crease and unfold.

3. Fold two opposite corners to the marks. Make a short crease and unfold.

4. Fold two opposite corners to the marks made in step 3 and unfold.

5. Fold a corner to the center. Make a short crease and unfold.

6. Fold the opposite corner to the mark made in step 5 and unfold.

7. Fold the same corner so the edges line up on the indicated marks.

8. Fold the model in half.

9. Fold the corner in to line up with the folded edge from the previous step.

10. Unfold the layer underneath.

11. Make valley folds on the top and right sides. The ends of the folds fall midway between existing creases.

12. Perform a compound squash fold.

13. Tuck in the corner flaps. Rotate the model.

14. Fold behind and unfold.

15. Fold the flap down, spreading the layers underneath.

16. Fold the flap back up.

17. Turn the model over.

18. Perform squash folds.

19. Turn the model over.

20. Make a small pleat.

21. Pull out flaps and flatten.

22. Perform a compound squash fold.

23. Perform swivel folds to shape the seat back.

24. Fold a flap to the left.

25. Fold it back to the right.

26. Reverse fold on the tip.

27. Repeat steps 24–26 on the left side.

28. Mountain fold and unfold.

29. Lift and spread the arms, making the model three-dimensional.

30. Rotate the model so the right side is facing you.

31. Raise the seat back forward.

32. Lower the front edge of the seat and squash fold the sides.

33. Crimp. Repeat behind.

34. Swivel fold to lock the leg. Repeat behind.

35. The completed Adirondack Chair.

Adirondack Animals

The woods of the Northeast are a great source of inspiration for origami. One thing about animals as subject matter is that they tend to share body structure, and lend themselves to variation on a theme. You will notice some common bases begin to emerge in this part. The Foxy Fox uses a variation on the stretched Bird Base. The Adirondack Moose uses a variation of the Fox Base. The Bear, meanwhile, introduces my Bear Base. Bases are fun because they can be varied to the point where the original base may no longer be expressed at all. These are relatively complex models, and offer good opportunities for sculpting at the final step.

Common Loon

The Common Loon is a large waterfowl found in the wilderness lakes of Canada and the Northeast United States, including the Adirondack Mountains. It is noted for its distinctive black and white plumage. Sighting a Loon is considered a sign of good luck and a healthy lake.

Recommended paper: 6" square or larger. To fold the Loon in its summer plumage use paper that is black on one side and white on the other. To fold the Loon in its winter plumage use paper that is gray on both sides.

Begin with a square, white side up.

1. Valley fold on the diagonals and unfold.

2. Fold a corner to the center and make a mark, then unfold.

3. Fold the corner to the mark and make a second mark, then unfold.

4. Fold the opposite corner to the second mark, then unfold.

5. Repeat steps 2 – 4 on the opposite corner. Turn the model over.

6. Valley fold two corners so the edges lie on the landmark and parallel to the center line.

7. Valley fold the two corners out again to lie on the edge.

8. Turn the model over.

9. Valley fold the two edges to the center line.

10. Valley fold the model in half.

11. Outside reverse fold, perpendicular to the bottom edge.

12. Pull out a layer. Repeat behind.

13. Outside reverse fold.

14. Open up the model.

15. Squash fold the flap.

16. Close the model.

17. Swing the flap to the left. Repeat behind.

18. Pull open some layers.

19. Collapse the layers as shown on existing creases.

20. Repeat steps 18 - 19 behind.

21. Tuck in the flap. Repeat behind.

22. Valley fold the tip first, and then fold the flap as far as possible. Repeat behind.

23. Sink to flatten the back.

24. Push in at the top and crimp to form the neck.

25. Reverse fold. Repeat behind.

26. Crimp to form the bill. Tuck in a layer to thin the neck. Repeat behind.

27. Make the body three-dimensional. Sculpt the model for realism.

28. The completed Common Loon.

Foxy Fox

This is one of my more impressionistic models. It makes use of a color change effect for a puffed-out tail and ears. I had an earlier version that never fully satisfied me because the body proportions were not sufficiently fox-like. A simple change in the location of the pleat at step 12 was just the thing to make the back longer, the legs and ears a bit shorter, and the whole appearance more foxy.

Recommended paper: 8" square or larger. Use two-colored (duo) paper for a color change effect.

Begin with a square, white side up.

1. Perform a preliminary fold.

2. Petal fold.

3. Turn the model over.

4. Petal fold to form a Bird Base.

5. The Bird Base. Fold the near flap downward. Repeat behind.

6. Fold a near flap to the left; fold a far flap to the right (a "minor miracle").

7. Pull the near flap up as high as it can go. Stretch and flatten the middle flaps.

8. The Stretched Bird Base. Fold the top half of the model down behind.

9. Reverse fold the two flaps.

10. Fold the bottom flap up as far as it can go without stretching.

11. Valley fold two flaps.

12. Pleat behind as far as the paper will go.

13. Unfold step 11.

14. Fold the model in half while reverse folding an inner flap.

15. Re-fold the flaps from step 11.

16. Valley fold a flap for the ear. Repeat behind.

17. Outside reverse fold over the ears.

18. Crimp the model to form the hip. Push in the point at the front.

19. Crimp to form the tail. Outside reverse fold to form the head.

20. Crimp to form the snout. Swivel fold a layer to thin the belly. Repeat behind.

21. Reverse fold the tip of the snout. Mountain fold to thin the legs. Repeat behind.

22. Squash fold the ear and reverse fold on the side of the head. Repeat behind. Crimp the tail part way through. Push in under the tail. Repeat behind. The model becomes three-dimensional.

23. Reverse fold the tail. Valley fold the ear. Repeat behind. Fold a layer inside to thin the snout. Repeat behind.

24. Pull out some paper at the tail to make it puff out. Open up and sculpt the ears. Crimp the front legs.

25. Sculpt the model.

26. The completed Foxy Fox.

Brown Bear

The Brown Bear (a.k.a. Black Bear) is a familiar denizen of forests of the Northeastern United States. Campers must be careful to secure their food, or risk providing the bears with a free meal and an unexpected close encounter. This model introduces my Bear Base, which is useful for many four-legged animals with a short tail and a detailed head.

Recommended paper: 8½" square or larger, any color.

Begin with a square, white side up.

1. Valley fold and unfold on the diagonals.

2. Kite fold and unfold on both ends. Turn the model over.

3. Valley fold three corners toward the middle.

4. Perform three rabbit ears.

5. Fold and unfold.

6. Fold the model in half while reverse folding in the tail.

7. The Bear Base. Reverse fold the front end.

8. Crimp and swing the tip upward.

9. Pull out a flap and swing the point downward. Repeat behind.

10. Outside reverse fold to form the head.

11. Sink to form the shoulders. Valley fold a flap forward to form the leg. Repeat behind.

12. Fold and unfold at the hip. Pull out a layer on the head. Repeat behind. Mountain fold a hidden layer in the head. Repeat behind.

13. Crimp to form the hindquarters. Mountain fold a layer to narrow the head. Repeat behind.

14. Reverse fold to narrow the hind legs. Repeat behind. Crimp the head.

15. Pull out a flap at the foot. Repeat behind. Pull out a flap at the tail. Mountain fold a flap on the head. Repeat behind. Crimp at the snout.

16. Crimp the tail inside. Crimp at the belly. Repeat behind. Mountain fold a flap at the ear. Repeat behind. Reverse fold the nose.

17. Crimp the tail outside. Narrow the neck and belly with mountain folds. Repeat behind.

18. Tuck in the corners of the tail. Repeat behind. Rabbit ear the feet. Repeat behind.

19. Mountain fold the tips of the ears and the front claws. Sculpt the model.

20. The completed Brown Bear.

Adirondack Moose

The moose is the largest living member of the deer family, and is easily distinguished by its distinctive antlers. This was a fun and challenging model to design, particularly since my approach focused on simplicity, on the animal's posture, attitude, and essential character rather than technical complexity. The design came together quickly as my initial idea turned out to be a good one. The model also has the virtue of standing well on four legs without wanting to tip forward or buckle, since the legs are developed from points in the middle of the paper.

Recommended paper: 13½" square or larger.

Begin with a square, white side up.

1. Valley fold and unfold on the diagonals.

2. Fold a corner to the center and make a mark; unfold. Fold a corner to the mark and make a second mark; unfold. Turn the model over.

3. Fold the opposite corner to the second mark.

4. Turn the model over.

5. Valley fold on the diagonal.

6. Valley fold one corner to the other, then unfold. Turn the model over.

7. Perform a preliminary fold.

8. Petal fold.

9. Turn the model over.

10. Petal fold.

11. Fold the flap down. Repeat behind.

12. Fold a near flap to the left. Fold a far flap to the right (a "minor miracle").

13. Fold a flap up and then down again. Repeat behind.

14. Fold a near flap to the right. Fold a far flap to the left (a "minor miracle").

15. Pull the tip up, opening up the model as in a stretched Bird Base.

16. Mountain fold the model in half, leaving the two flaps at the top.

17. Reverse fold two flaps along the hidden creases.

18. Reverse fold the two flaps back out so their edges lie parallel to the model's edges.

19. Valley fold a flap up as far as it will go without stretching the model.

20. Pull out a layer on each side and squash fold it flat.

21. Squash fold a layer underneath on each side.

22. Fold and unfold, creasing only on the left side of the model.

23. Fold and unfold, creasing only on the right side of the model.

24. Valley fold a flap up. Rotate the model.

25. Fold the model in half.

26. Reverse fold. Repeat behind.

27. Reverse fold again. Repeat behind.

28. Mountain fold. Repeat behind.

29. Mountain fold again. Repeat behind.

30. Double outside reverse fold (crimp).

31. Reverse fold the hidden flap in and out again.

32. Squash fold.

33. Unfold.

34. Crimp fold.

35. Reverse fold. Repeat behind.

36. Crimp the hidden flap.

37. Slide the flap down.

38. Valley fold perpendicular to the edge.

39. Valley fold perpendicular to the edge and unfold.

40. Fold and unfold the corner. Unfold steps 38 - 39.

41. Collapse on existing creases.

42. Slide the flap back up.

42. Slide the flap back up.

43. Valley fold on the ear. Repeat behind. Outside reverse fold on the snout.

44. Valley fold on the ear. Repeat behind. Outside reverse fold on the snout.

45. Valley fold on the ear. Repeat behind. Make reverse folds on the nose and the flap at the throat.

46. Crimp to form the hind legs. Crimp at the snout.

47. Mountain fold to narrow the head. Repeat behind. Slide the flap at the throat upward.

48. Swivel fold at the hip. Repeat behind. Valley fold the antler forward. Repeat behind.

49. Crimp to form the tail. Valley fold the antler back. Repeat behind.

50. Spread the antler like a squash fold. Repeat behind.

51. Sculpt the antlers.

52. Raise and spread the antlers.

53. Sculpt the model.

54. The completed Adirondack Moose.

Insects

Origami insects are often notoriously advanced subjects and can be quite difficult to fold. My approach is somewhat different. Rather than depicting the butterfly and caterpillar in all their anatomical detail, I've gone with an evocative interpretation. These intermediate models can be folded nicely from 6" or 10" paper. Kami is a good choice. If you fold both subjects from the same kind and size of paper they will go together well.

Inchworm

Inspired by a friendly visitor on a camping trip, this model captures the unique posture and evokes the movement of this charming insect. This is a color change model, using the reverse side to suggest the animal's contrasting surface pattern.

Recommended paper: 6" square or larger. For a small model use thin paper. Two-colored (duo) paper works best.

Begin with a square, with the desired underside color facing up side up.

1. Fold and unfold on the diagonals. Turn the model over.

2. Fold two opposite corners to the center. Turn the model over.

3. Fold two opposite edges to the center.

4. Fold two opposite corners to the center.

5. Unfold.

6. Turn the model over.

7. Pleat.

8. Pleat again.

9. Pleat a third time.

10. Valley fold the tip to the center.

11. Repeat steps 7 – 10 on the opposite corner.

12. Fold and unfold through the center of the model.

13. Fold and unfold half a square down.

14. Fold and unfold five more times.

15. Repeat steps 13 - 14 on the other end.

16. Fold behind, bringing the edges to the center at the middle of the model, and unfold.

17. Mountain fold the model in half.

18. Crimp. The valley fold of the crimp is an existing crease from step 12.

19. Crimp twice.

20. Crimp twice more.

21. Crimp in the opposite direction on both sides.

22. Crimp twice more in the opposite direction.

23. Crimp twice more.

24. Crimp once more at the tail end.

25. Tuck in the series of pleated flaps to narrow the middle of the model and lock the pleats. Repeat behind.

26. Push the two points together and tuck the lower edge in to form legs. Repeat behind. The model becomes three-dimensional.

27. Repeat step 26 on the next body segment.

28. Repeat for a body segment in the front.

29. Squash fold to form the head. Narrow the tail.

30. Fold the tip underneath at roughly the two-thirds mark. Reverse fold to blunt the tip of the tail.

31. Fold up two flaps on the head to form the face.

32. Fold the tip underneath.

33. The completed Inchworm.

Butterflies

A beautiful butterfly captured at the moment of spreading its wings and taking flight. This model is easily foldable from a six-inch square, somewhat unusual for an insect complete with wings, legs and antennae. After I'd finished designing the model with six legs, I learned that many butterflies have only four legs!

Recommended paper: 6" square or larger.

Begin with a square, white side up.

1. Collapse the paper into a Waterbomb Base.

2. Fold and unfold, creasing only in the middle.

3. Squash fold.

4. Valley fold the tip up.

5. Fold over a flap and reverse fold the top layer.

6. Repeat steps 3 – 5 on the left.

7. Pull out the flaps.

8. Fold and unfold.

9. Make double reverse folds (crimp).

10. Make reverse folds.

11. Reverse fold two tips on either side.

12. Petal fold through multiple layers.

13. Squash fold.

14. Petal fold.

15. Tuck the tip inside.

16. Fold and unfold.

17. Fold and unfold.

18. Reverse fold in and out and in again.

19. Fold and unfold.

20. Perform a semi-closed sink.

21. Open the top and sink some more.

22. Detail of flattening the layers inside the sink.

23. Make reverse folds.

24. Turn the model over.

25. Swing the flap to the right, spreading the layer beneath.

26. Fold the flap back.

27. Repeat steps 25 - 26 on the right.

28. Make reverse folds.

29. Petal fold, tucking the tip inside.

30. Turn the model over.

31. Reverse fold. Turn the model over.

32. Reverse fold in and out again.

33. Repeat steps 30 – 32 on the right.

34. Make reverse folds.

35. Crimp on both sides to form the fore- and aft-wing divisions.

36. Reverse fold the wing tips. Squash fold at the middle of the wings.

37. Pull some layers apart to form the head and antennae.

38. Turn the model over.

39. Thin the tail.

40. Valley fold two legs.

41. Rabbit ear to form the four back legs.

42. Rabbit ear to form the two front legs.

43. Turn the model over. Pose and sculpt the model.

44. The completed Butterfly.

Cephalopods

Cephalopods are a fascinating class of ocean-dwelling invertebrates of the phylum of Mollusks. They are known for their intelligence, advanced nervous system, and in particular the eye—not to mention their hunting skill, camouflage and mimicking ability, and plethora of tentacles. The models in this chapter embody a range of design approaches to suit the subjects.

Octopus

As one of the most advanced invertebrates or a delicious appetizer, everyone loves the octopus. This model was spontaneously invented in response to a challenge at a party. The rotational symmetry of this model led to other models that I've developed, including a flying saucer and a rocketship.

Recommended paper: 6" square or larger. Foil works well, as do many papers with a pattern or texture.

Begin with a square, colored side up.

1. Fold a Waterbomb Base.

2. Squash fold.

3. Valley fold the tip up.

4. Repeat steps 2 - 3 on the other three flaps.

5. Turn the model inside out. Rotate 180 degrees.

6. Valley fold a flap.

7. Slide the flap and fold again.

8. Fold the flap back.

9. Unfold.

10. Reverse fold in, out, and in again.

11. Repeat steps 6 – 10 on the other seven flaps.

12. Valley fold the tip.

13. Swing one flap to the right on the near layer and one flap to the left on the far layer (a "minor miracle").

14. Repeat steps 12 - 13 seven times.

15. Reverse fold a point to form the tentacle.

16. Repeat step 15 seven times, spreading the points out radially as you go.

17. Puff out and sculpt the central point to form the head.

18. Curve and pose the tentacles.

19. The completed Octopus.

Cuttlefish

This enigmatic cephalopod is famous for its ability to rapidly change the color and pattern of its skin. Cuttlefish use their tentacles to capture prey and the frilly fins on the sides of their bodies to swim forward and backwards, and to hover. They also have very advanced eyes. Despite their name, cuttlefish are not fish, but mollusks.

Recommended paper: 8" square or larger. Use papers with different patterned designs to emulate the various moods of the cuttlefish. Two-colored (duo) paper will yield a color-changed eye.

Begin with a square, white side up.

1. Preliminary fold the paper.

2. Fold a layer up. Repeat behind.

3. Perform a kite fold. Repeat behind.

4. Pull out trapped paper on the left and right.

5. Perform valley folds to open up the middle of the model.

6. Fold the flap down.

7. Fold and unfold.

8. Fold and unfold.

9. Petal fold the paper.

10. Swivel fold the paper.

11. Swivel fold on the right.

12. Pull out a layer of trapped paper at the corner and flatten.

13. Swing a flap to the left.

14. Swing the corner flap to the right.

15. Swing a flap to the right.

16. Squash fold the corner flap.

17. Pleat to form the eye.

18. Turn the model over.

19. Repeat steps 5 – 18.

20. Reverse fold the paper.

21. Pleat. Repeat behind.

22. Fold and unfold.

23. Fold and unfold.

24. Slide upward and flatten.

25. Crimp.

26. Tuck a layer inside. Repeat behind.

27. Crimp.

28. Reverse fold.

29. Reverse fold.

30. Crimp through the whole model.

31. Perform four reverse folds.

32. Perform four reverse folds.

33. Push in the middle point, leaving eight points.

34. Crimp seven times to narrow the tentacles.

35. Sculpt the model.

36. The completed Cuttlefish.

Giant Squid

These enigmatic cephalopods are famous for attacking sailing ships in sea legends, and for challenging the whales for dominance of the world's oceans in an ongoing struggle in the cold, black watery depths. They also have among of the most advanced eyes in the animal kingdom. I invented this model almost by accident as part of a series of failed attempts to create a spider. It features twelvefold rotational symmetry. You may wish to wet-fold the tentacles.

Recommended paper: 12" square or larger.

Begin with a square, white side up.

1. Perform a preliminary fold.

2. Fold in half; crease only at the edge.

3. Fold the corner to the mark made in step 2.

4. Fold the flap on the left to the right.

5. Fold the flap back to the left.

6. Pull out the flap underneath and fold to the right.

7. Turn the model over.

8. Repeat steps 3 – 6.

9. Unfold to step 2.

10. Reverse fold the hidden layers.

11. Fold and unfold.

12. Fold and unfold.

13. Mountain fold the corner underneath.

14. Mountain fold the two edges underneath.

15. Turn the model over.

16. Repeat steps 11 – 14.

17. Crimp along existing creases.

18. Crimp on the left along existing creases.

19. Fold the tip to the bottom edge of the near layer and unfold.

20. Fold the tip to the bottom corner of the near layer and unfold, creasing only on the right side.

21. Fold the tip to the bottom corner of the near layer and unfold, creasing only on the left side.

22. Reverse fold a hidden flap.

23. Reverse fold in, out, and in again.

24. Repeat steps 22 - 23 on the left.

25. Repeat steps 22 – 24 behind.

26. Fold a flap to the left while reverse folding part of the flap.

27. Repeat step 26 behind.

28. Fold and unfold. Repeat behind.

29. Fold and unfold perpendicular to the bottom edge.

30. Crimp.

31. Fold a flap to the right. Repeat behind (undo step 26).

32. Repeat steps 26 – 31 on the left.

33. Petal fold through multiple layers.

34. Squash fold.

35. Fold and unfold.

36. Petal fold.

37. Squash fold.

38. Petal fold.

39. Tuck the tip inside. (Sink and the wrap the layer behind around the front.)

40. Repeat step 39 on the left.

41. Fold down a flap.

42. Repeat steps 33 – 41 behind.

43. Reverse fold the two flaps.

44. Swing a layer to the left, opening up the model slightly. The model will not lie flat.

45. Reverse fold.

46. Swing the layer back to right, collapsing the inner flap as shown.

47. Reverse fold.

48. Reverse fold.

49. Repeat steps 44 – 48 on the left side.

50. Repeat steps 44 – 49 behind.

51. Narrow the flaps. Repeat behind.

52. Thin the points further. Repeat behind.

53. Perform reverse folds.

54. Mountain fold and unfold at the top of the model. Thin the long tentacles with a rabbit ear.

55. Sculpt the top of the model. Sculpt the long tentacles.

56. Crimps at the sides of the model to form the eyes. Spread and sculpt the ends of the long tentacles.

57. Sculpt and pose the remaining eight tentacles.

58. The completed Giant Squid.

Arctic Marine Mammals

Every year OrigamiUSA puts on a fantastic origami Holiday Tree in the American Museum of Natural History in New York. One year the theme was "folding the museum" and I contributed several arctic marine mammals inspired by dioramas in the museum's famous "whale room." Structurally, they are all variations on my Bear Base. They also share a similar design approach for the back flippers and the Narwhal's tail. And that's not just a fluke! These animals do not have lots of detailed appendages to capture, but rather they all have massive, rounded bodies which are sculpted at the finishing stage.

Bull Walrus

This model was originally a contribution to OrigamiUSA's annual Holiday Tree. One of my goals in designing this model was to capture a suggestion of the enormous bulk of the animal. I recently saw a live walrus and was amazed at how huge the creature actually is.

Recommended paper: 8" square or larger. Use two-colored (duo) paper for color-changed tusks.

Begin with a square, white side up.

1. Fold and unfold on the diagonals. Turn the model over.

2. Fold in half and unfold, creasing only at the right edge.

3. Fold from the corner to the landmark and unfold, creasing only where the fold crosses the diagonal crease.

4. Fold the corner to the mark.

5. Fold the opposite corner.

6. Perform a rabbit ear.

7. Rabbit ear the opposite corner.

8. Fold and unfold at the tail.

9. Slide the flap so the indicated point meets the mark and flatten.

10. Repeat step 9 on the other side.

11. Mountain fold a flap behind.

12. Fold and unfold.

13. Turn the model over.

14. Fold the corner to the mark and unfold.

15. Repeat step 14 on the other side.

16. Fold the model in half.

17. Fold and unfold.

18. Fold the indicated point to the mark and unfold.

19. Reverse fold.

20. Sink.

21. Swivel fold a layer inside at the bottom. Repeat behind.

22. Crimp the middle of the model. Flatten the layer beneath the rabbit ear. Repeat behind.

23. Fold and unfold at the head. Fold and unfold at the shoulder. Repeat behind.

24. Fold and unfold at the head. Sink at the shoulder. Repeat behind.

25. Fold and unfold at the head.

26. Crimp at the head. Fold the hind flipper forward. Repeat behind.

27. Squash fold at the head. Slide the rear flippers out and flatten.

28. Fold a layer behind at the head. Tuck in a layer at the shoulder. Repeat behind.

29. Reverse fold a hidden layer at the head. Repeat behind. Fold the front flipper back. Repeat behind.

30. Reverse fold a layer on the tusk. Repeat behind. Reverse fold at the front of the flipper. Repeat behind.

31. Reverse fold a layer on the head. Repeat behind.

32. Reverse fold the next layer on the tusk. Repeat behind.

33. Reverse fold at the snout. Tuck in a layer behind the tusk. Repeat behind.

34. Crimp the snout.

35. Tuck in a layer on the head. Repeat behind. Sculpt the tusks. Spread out the flippers.

36. The completed Bull Walrus.

Elephant Seal

Another gigantic arctic marine mammal, elephant seals' heads have pendulous proboscises that give them their name. My Elephant Seal shares a similar approach to my Bull Walrus, and was in fact designed for the same exhibit. I strove to capture the animal's stance while roaring. Seals and Walruses are subjects that lend themselves to a curved, sculptural approach. Take your time when finishing the model to concentrate on the body from and posture.

Recommended paper: 8" square or larger. Thicker paper such as Canson works well.

Begin with a square, white side up.

1. Fold and unfold on the diagonals. Turn the model over.

2. Fold in half and unfold, creasing only at the right edge.

3. Fold from the corner to the landmark and unfold, creasing only where the fold crosses the diagonal crease.

4. Fold the corner to the mark.

5. Fold the opposite corner.

6. Perform a rabbit ear.

7. Rabbit ear the opposite corner.

8. Fold and unfold.

9. Slide the flap so the indicated point meets the mark and flatten.

10. Repeat step 9 on the other side.

11. Mountain fold a flap behind.

12. Fold and unfold.

13. Turn the model over.

14. Fold the corner to the mark and unfold.

15. Repeat step 14 on the other side.

16. Fold and unfold.

17. Fold the corner to the mark and unfold.

18. Fold the corner to the mark and unfold.

19. Repeat step 18 on the other side.

20. Fold the model in half.

21. Fold and unfold.

22. Fold the indicated point to the mark and unfold.

23. Reverse fold.

24. Sink.

25. Swivel fold a layer inside at the bottom. Repeat behind.

26. Crimp the middle of the model. Flatten the layer beneath the rabbit ear. Repeat behind.

27. Crimp the middle of the model. Flatten the layer at the side. Repeat behind.

28. Tuck in a layer at the front. Repeat behind. Fold and unfold at the shoulder. Repeat behind.

29. Fold and unfold at the head. Spread squash at the shoulder. Repeat behind.

30. Fold and unfold at the head. Fold a hind flipper forward. Repeat behind.

31. Crimp fold at the head. Slide the rear flippers out and flatten.

32. Reverse fold a small flap at the head. Repeat behind. Tuck in a layer at the shoulder. Repeat behind.

33. Fold and unfold at the head. Fold the front flipper back. Repeat behind.

34. Crimp the snout. Sink at the back of the head.

35. Pull out a layer at the snout. Repeat behind. Tuck in a layer to thin the neck. Repeat behind.

36. Reverse fold the tip of the snout.

37. Valley fold the tip inside to lock it.

38. Crimp the snout.

39. Tuck in a layer to thin the head. Repeat behind.

40. Spread out the flippers and sculpt the model.

41. The completed Elephant Seal.

Narwhal

The narwhal lives in the waters of the Arctic Ocean. Their most distinctive feature is a long, spiral ivory tusk on the male of the species, which can grow to be a third of the body length. The exact purpose of the tusk is unknown. Maybe it's a weapon in the endless, ageless battle against giant squid. But what is known is this: narwhals are awesome!

Recommended paper: 10" square or larger. Use two-colored paper for a color change effect on the tusk.

Begin with a square, white (tusk color) side up.

1. Fold and unfold on the diagonals. Turn the model over.

2. Kite fold partway across the paper and unfold.

3. Valley fold the corner to the landmark.

4. Rabbit ear.

5. Repeat steps 3 - 4 on the opposite corner.

6. Fold and unfold.

7. Slide the flap so the indicated point meets the mark and flatten.

8. Repeat step 7 on the opposite side.

9. Fold the corner underneath. Rotate the model clockwise.

10. Fold behind and unfold.

11. Fold the model in half.

12. Fold and unfold.

13. Fold the indicated point to the mark and unfold.

14. Reverse fold.

15. Sink.

16. Swivel fold the flap underneath. Repeat behind.

17. Fold and unfold. Repeat behind.

18. Sink. Repeat behind.

19. Slide a layer up and flatten.

20. Fold the flaps behind.

21. Fold the flap down.

22. Repeat steps 19 – 21 on the other side.

23. Fold the front fins back. Fold the back fins forward.

24. Crimp to form the tusk. Swing the back fins up and flatten.

25. Thin the tusk. Repeat behind.

26. Mountain fold at the bottom of the head. Repeat behind. Reverse fold on the fin. Repeat behind.

27. Mountain fold on the belly. Repeat behind.

28. Pull open a layer to form the eye. Repeat behind. Twist the tusk into a spiral.

29. The completed Narwhal.

Hex Base Critters

Comparing this section to the previous one, it's interesting to note how more detail can imply a smaller subject, while less detail a larger one. All of these models use my Hex Base, which is great for practically any animal that has four legs and claws or toes. The Hex Base was my first successful foray into sixfold symmetry—that is, geometry based on 15 and 30 degrees rather than 22.5 and 45 degrees. These models can be folded to be life-sized by following the paper size recommendations given in the projects.

Lizard

There are thousands of varieties of lizard all over the world. Most share a fascinating quality of cold, patient reptilian stillness combined with moments of incredible quickness. I've sought to capture this attitude in my Lizard. The model features a detailed head and claws, and a posable body stance with a bendable neck and tail. This model was the origin of my Hex Base, which inscribes a regular hexagon into a square. The hexagon forms the body, with the six points making the head, tail, and legs. The remaining wedges of paper between the hexagon and the corners of the square sheet are used to form the claws. This has proved a very versatile base for any animal with four clawed legs. I have adapted it to a number of subjects of remarkably different forms.

Recommended paper: 10" square or larger. This model works well from a variety of paper, including regular origami paper. I tend to favor larger, slightly thicker papers. The resulting model makes an incredibly strong, durable sculpture.

Begin with a square, white side up.

1. Fold and unfold, first in half, and then in quarters.

2. Fold the bottom half up.

3. Valley fold the corner to lie against the crease. This forms a 60-degree angle.

4. Valley fold the flap to the right.

5. Repeat steps 3 - 4 on the left.

6. Unfold.

7. Fold and unfold the corners. Repeat behind.

8. Unfold.

9. Fold in the edges.

10. Fold edges to the center line and unfold. Turn the model over.

11. Fold the corners in.

12. Fold the corners out. The next several steps concentrate on forming the claws.

13. Fold and unfold parallel to the edge.

14. Unfold.

15. Squash fold.

16. Swivel fold.

17. Fold and unfold.

18. Reverse fold.

19. Reverse fold again.

20. Reverse fold yet again.

21. Repeat steps 13 – 20 on the three remaining corners.

22. Fold out the corner flaps. Turn the model over.

23. Reverse fold and flatten the inner flap.

24. Reverse fold.

25. Reverse fold again.

26. Fold the flap behind again.

27. Repeat steps 23 – 26 on the three remaining corners.

28. Fold so the existing crease aligns with the centerline and unfold.

29. Mountain fold the model in half.

30. Fold and unfold diagonals. Repeat behind.

31. Squash fold to form legs. Repeat behind.

32. Fold and unfold the near flap. Repeat behind. Unfold to step 29.

33. Fold and unfold the middle region so the existing crease lines up with the centerline.

34. Fold, continuing the creases and tapering to the corners. Unfold.

35. Fold the left side of the model behind.

36. Fold the top behind.

37. Fold and unfold the corner. Unfold to step 35.

38. Repeat 35 - 36 on the right.

39. Valley fold and unfold. The folds align with the corners of the squares created in steps 35 - 38.

40. Refold the model to step 32.

41. Open sink. Repeat behind.

42. Fold and unfold. Repeat behind.

43. Push up at the center and spread the model. The model becomes three-dimensional.

44. Pull out the legs and collapse the center region.

45. Narrow the tail by folding the top layer inside. Repeat behind.

46. Fold down the flaps on the top of the legs. Repeat behind.

47. Perform rabbit ears on the legs. Repeat behind.

48. Pull out flaps on the underside of the model. Repeat behind.

49. Apply reverse folds to thin the underside of the legs. Repeat behind.

50. Tuck the flaps inside. Repeat behind.

51. Valley fold to create the brow ridge. Repeat behind.

52. Crimp to form the neck.

53. Crimp again to form the head. Do not crease the brow ridge.

54. Double reverse fold to form the mouth. Tuck a layer underneath to thin the brow ridge. Repeat behind.

55. Reverse fold at the snout. Repeat behind.

56. Narrow the jaw, neck, underbelly and tail.

57. Valley fold the legs out to the side of the model. Mountain fold and spread out the toes.

58. Push in at the back to make it three-dimensional. Curve the tail.

59. The completed Lizard.

Snapping Turtle

The snapping turtle is commonly found in ponds all over the Eastern United States. Made from a variation on my Hex Base, my Turtle features a detailed head and claws, and a segmented, domed shell. This has proven to be a very popular model. However, unlike a real snapping turtle, this model features two rather than three hexagonal segments in the middle of the back.

Recommended paper: 10" square or larger.

Begin with a square, white side up.

1. Fold and unfold, first in half, and then in quarters.

2. Fold the bottom half up.

3. Valley fold the corner to lie against the crease. This forms a 60-degree angle.

4. Fold and unfold on the left. Unfold on the right.

5. Fold and unfold the corners through both layers. Unfold everything.

6. Fold and unfold the top and bottom edges.

7. Fold and unfold, bisecting the angles formed in step 5. Turn the model over.

8. Fold and unfold. Do not fold through the center.

9. Fold and unfold.

10. Fold and unfold.

11. Fold and unfold.

12. Fold and unfold. Turn the model over.

13. Create pleats as shown.

14. Valley fold the top and bottom edges.

15. Fold the corners behind and unfold.

16. Fold the corners so the edges align with the creases.

17. Pull out a layer at each corner.

18. Fold the flaps behind. Turn the model over.

19. Fold and unfold.

20. Fold and unfold.

21. Sink in, out, and in again.

22. Reverse fold each of the four layers.

23. Repeat steps 19–22 on the other three corners. When done, turn the model over.

24. Fold the top and bottom edges to the center.

25. Perform squash folds.

26. Swing the flaps.

27. Fold the flaps open and spread the corners.

28. Reverse fold an inner flap on each leg.

29. Fold the leg flaps toward the center. Fold and unfold at the tail.

30. Fold and unfold.

31. Pleat.

32. Perform squash folds.

33. Bring a layer to the front. This is something like a sink.

34. Fold the back legs out; fold the front legs in.

35. Pleat.

36. Perform squash folds.

37. Pull out a layer. This is something like a sink.

38. Perform squash folds.

39. Perform petal folds.

40. Fold the ridge as shown. The model will not lie flat. Turn the model over.

41. Crimp to form the shell.

42. Fold the edges under to shape and lock the shell. Crimp the neck and tail.

43. Pull out a layer on the sides of the head and sculpt. Spread the toes and sculpt the feet.

44. The completed Snapping Turtle.

Frog

If you don't live in a part of the world where lizards are common, you probably still have frogs. Frogs are found all over the world except arctic and desert climates, and are especially fond of forests, ponds, and streams. On a warm summer night in the woods you can hear their melodic croaking and singing. Children love to catch frogs. This model is the most extreme adaptation of my Hex Base to a different body plan. The model is fully three-dimensional and fully sculptural. Take your time and experiment with the final shaping of the body.

Recommended paper: 8" square or larger.

Begin with a square, white side up.

1. Fold and unfold the paper in half, and then in quarters.

2. Fold the bottom half up.

3. Valley fold the corner to lie against the crease. This forms a 60-degree angle.

4. Fold and unfold on the left. Unfold on the right.

5. Fold and unfold the corners through both layers. Unfold everything.

6. Valley fold the top and bottom edges.

7. Fold and unfold, bisecting the angles made in steps 3 - 4.

8. Fold and unfold. Turn the model over.

9. Fold the corners in.

10. Fold the corners out again. The next few steps concentrate on forming the toes.

11. Fold and unfold. Note the landmark point; the tip lands short of the edge.

12. Unfold.

13. Squash fold.

14. Perform a swivel fold.

15. Fold and unfold.

16. Reverse fold.

17. Reverse fold.

18. Sink.

19. Repeat steps 11 – 18 on the other three corners.

20. Swing the four corner flaps over. Valley fold the point on the left to the center.

21. Fold the model in half while reverse folding the area on the left.

22. Squash fold the flap on the upper right. Swing a flap behind to the right.

23. Squash fold.

24. Petal fold and flatten to the right.

25. Swing the flap to the right.

26. Repeat steps 23 – 25 on the left.

27. Turn the model over.

28. Perform rabbit ears.

29. Crimp (double reverse folds) on the front legs.

30. Turn the model over.

31. Swing a flap to the right.

32. Pull out a trapped layer.

33. Tuck in the flap.

34. Swing a flap to the left.

35. Repeat steps 31 – 34 on the right.

36. Perform valley folds.

37. Perform valley folds.

38. Fold the flaps inward while letting the layer underneath swing outward to form the legs.

39. Spread the legs and flatten.

40. Tuck in a layer at the tail. Crimp to form the hind feet. Spread the toes on the front feet.

41. Narrow the tail. Spread the hind toes. Fold the front legs underneath and narrow them.

42. Pull up the legs and eyes to make the model three-dimensional. Open a layer at the snout to make the head three-dimensional. Pose the front arms and sculpt the model.

43. The completed Frog.

Five-Banded Armadillo

I had a close encounter with a family of these cute creatures while on vacation with my family in Florida. The critters were living under the hot tub of the house where we were staying and could often be seen shuffling around in the yard. My model features a detailed shell and claws. The hardest part of this model was making the ears without developing any new points, and without sacrificing the closed back. Fun fact: a group of armadillos is called a "fez."

Recommended paper: 12" square or larger.

Begin with a square, white side up.

1. Fold and unfold the paper in half, and then in quarters.

2. Fold the bottom half up.

3. Valley fold the corner to lie against the crease. This forms a 60-degree angle.

4. Fold and unfold on the left. Unfold on the right.

5. Fold and unfold the corners through both layers. Unfold everything.

6. Fold and unfold the top and bottom edges.

7. Fold and unfold. Do not fold through the center.

8. Fold and unfold. Do not fold through the center.

9. Fold and unfold, dividing the center region into thirds.

10. Fold and unfold, dividing the center region into quarters.

11. Fold and unfold, subdividing into sixths.

12. Fold and unfold, subdividing again into twelfths.

13. Turn the model over.

14. Pleat, dividing the rightmost region in half again.

15. Pleat five more times, skipping every second region.

16. Fold the top and bottom edges underneath.

17. Fold the corners in.

18. Fold the corners out again.

19. Fold and unfold.

20. Unfold.

21. Squash fold.

22. Squash fold.

23. Fold and unfold.

24. Reverse fold.

25. Reverse fold.

26. Sink.

27. Repeat steps 19 – 26 on the other three corners.

28. Turn the model over.

29. Fold the top and bottom edges to the center.

30. Perform reverse folds.

31. Fold back out and spread.

32. Perform swivel folds.

33. Fold the model in half.

34. Crimp the tail and head.

35. Tuck in a layer to thin the legs and belly. Repeat behind.

36. Thin the legs with a mountain fold. Repeat behind. The toes will swing inside.

37. Reverse fold at the back of the shell. Repeat behind. Reverse fold to form the head.

38. Tuck in a layer to thin the tail. Repeat behind. Tuck in a layer at the front of the shell. Repeat behind.

39. Crimp the tail. Outside reverse fold on the head.

40. Crimp the tail. Pull out a layer at the head. Repeat behind.

41. Crimp the head.

42. Crimp the base of the shell. Repeat behind. The model becomes three-dimensional. Fold back a layer on the head. Repeat behind.

43. Tuck in the bottom of the shell. Repeat behind.

44. Perform sinks at the top of the shell. Crimp to form the feet. Repeat behind.

45. Sculpt the model.

46. The completed Five-Banded Armadillo.

American Turkey

There are many breeds of domesticated turkeys, all descended from their cousin, the wild turkey. Ben Franklin proposed the turkey as America's national bird, and it has become and important symbol for Americans, as well as a tasty item for holiday feasts. This model features a detailed head with wattle, a tail with a fan of feathers, a sculpted body with wings, and feet with toes on which the turkey can stand and balance. In addition it's a color change model, so if you use two-colored (duo) paper you'll get a contrasting wattle and feet, and colored accents on the wings and tail.

Recommended paper: 13½" square or larger.

Begin with a square, white side up.

1. Perform a preliminary fold.

2. Fold in half; crease only at the edge.

3. Fold the corner to the mark made in step 2. Crease only at the edge.

4. Fold the bottom corner up, using the mark from step 3 as a reference.

5. Fold a near layer to the right and a far layer to the left. (A "minor miracle.")

6. Fold a bottom corner up.

7. Repeat steps 5 - 6 two more times.

8. Unfold everything. Turn the paper colored side up.

9. Fold and unfold the bottom edge.

10. Repeat for the other three sides.

11. Mountain fold one corner and valley fold the opposite corner.

12. Fold and unfold.

13. Fold all four edges in, making preliminary folds in two opposite corners.

14. Turn the model over.

15. Perform a preliminary fold.

16. Perform reverse folds.

17. Pull out the trapped paper at the corner.

18. Unfold the flaps.

19. Perform reverse folds.

20. Turn the model over.

21. Petal fold.

22. Fold the top flap down.

23. Fold and unfold the top flap.

24. Spread-squash fold.

25. Fold the flap back up.

26. Fold the flap down at the 2/3 mark.

27. Fold and unfold the flap underneath, but only in the middle.

28. Fold the flap back up.

29. Fold the bottom flap up.

30. Pull the top flap to stretch the model to the crease from step 27. Flatten the two flaps out to the sides.

31. Like so. Turn the model over.

32. It should look like this. Turn the model over again.

33. Perform swivel folds to narrow the tail flap.

34. Bring the two marked points together with a petal fold. Flatten the remaining flap to the top.

35. Repeat step 34 on the other leg.

36. Valley fold perpendicular to the outside edge.

37. Reverse some layers. This is something like a sink.

38. Swivel fold.

39. Swivel fold on the other side.

40. Perform swivel folds to widen the tail flap.

41. Turn the model over.

42. Perform reverse folds.

43. Turn the model over.

44. Perform reverse folds.

45. Like so.

46. Open the flap.

47. Petal fold.

48. Fold the flap back.

49. Fold the flap back.

50. Mountain fold the top layer to narrow the leg.

51. Valley fold and tuck in the layer underneath to narrow the leg.

52. Fold down a layer in front and another behind.

53. Reverse fold in and out again.

54. Outside reverse fold.

55. Reverse fold two (mostly hidden) layers to narrow the toes.

56. Crimp.

57. Mountain fold and spread to tuck in the layers. Repeat behind.

58. Like so. The Turkey foot.

59. Repeat steps 46 – 58 for the other foot.

60. Turn the model over.

61. Mountain fold and unfold.

62. Fold the top down and the sides outward.

63. Sink.

64. Petal fold.

65. Fold the tip up.

66. Mountain fold the tip inside.

67. Adjust and flatten some of the white layers.

68. Mountain fold and unfold.

69. Mountain fold and unfold.

70. Mountain fold and unfold.

71. Mountain fold and unfold.

72. Mountain fold and unfold.

73. Mountain fold and unfold.

74. Pleat. The model will not lie flat. Let the point in the middle stick up.

75. Continue with the remaining pleats. When done, flatten the point in the middle forward.

76. Like so.

77. Reverse fold to sculpt the tail.

78. Mountain fold to sculpt the tail.

79. Repeat steps 77 - 78 for the remaining tail feathers.

80. Fold the model in half and rotate.

81. Perform a double rabbit ear.

82. Reverse fold.

83. Reverse fold. Repeat behind.

84. Crimp to rotate the flap upward.

85. Crimp through all layers.

86. Pull the flap downward a bit.

87. Narrow the flaps. Repeat behind.

88. Like so. The Turkey head.

89. Crimp to raise the tail. Spread it out to become three-dimensional.

90. The completed American Turkey.

Fivefold Rose

Like animals, plants and flowers make great subject matter for origami, and offer a different set of opportunities for exploring new approaches and geometries. The Fivefold Rose features fivefold symmetry for a more natural appearance. The golden ratio is replete in many natural plant forms and the rose is no exception. The method for developing the pentagon is approximate but very accurate. The center of the pentagon is at the center of the paper.

Recommended paper: 8" square or larger. Kami is a good choice.

Begin with a square, white side up.

1. Fold the model in half.

2. Fold and unfold, creasing only at the edge.

3. Fold and unfold, creasing only at the edge.

4. Fold and unfold, creasing only at the edge.

5. Fold so the dots meet.

6. Valley fold the near flap down.

7. Valley fold.

8. Mountain fold.

9. Unfold everything.

10. Fold and unfold the diagonals as valley folds.

11. Perform valley folds.

12. Valley fold.

13. Valley fold the bottom edge up.

14. Valley fold the flap on the right.

15. Unfold.

16. Valley fold.

17. Valley fold the flap on the left.

18. Unfold.

19. Fold behind and unfold.

20. Tuck the flaps underneath.

21. Mountain fold and unfold.

22. Mountain fold and unfold parallel to the sides of the model. Note the creases do not converge due to the flat spot at the top.

23. Tuck the flaps underneath.

24. The Pentagon Base.

25. Fold and unfold, lining up the landmarks as shown.

26. Repeat step 25 on the four remaining sides.

27. Turn the model over.

28. Fold and unfold, lining up the landmarks as shown.

29. Repeat step 28 on the four remaining sides.

30. Fold and unfold, lining up the landmarks as shown.

31. Repeat step 30 on the four remaining sides.

32. Turn the model over.

33. Fold and unfold.

34. Fold and unfold.

35. Rotate the center and collapse. This is a five-way twist fold.

36. Extend the central spiral to the indicated creases; spread the paper at the corners and let the center open up. The model becomes three-dimensional.

37. Turn the model over for an alternate view of step 36.

38. Perform reverse folds at the five corners. Open up the center more.

39. Rotate the model.

40. Fold the five corners back as if you were putting away an umbrella.

41. Valley fold the flaps in the opposite direction on all five sides.

42. Squash fold (swivel).

43. Repeat step 42 on the four remaining sides.

44. Narrow the flap.

45. Repeat step 44 on the four remaining sides.

46. Tuck in the next layer to narrow the point.

47. Repeat step 46 on the four remaining sides.

48. Fold the point underneath.

49. Repeat step 48 on the four remaining sides.

50. Turn back the tips of the petals and sculpt the model.

51. The completed Fivefold Rose.

Appendix:
Symbols and Folds

The following is a handy reference to the symbols and folds described in the projects.

Lines

Arrows

More Arrows

Valley Fold
Fold a layer of paper towards you. The crease resembles a valley.

Mountain Fold
Fold a layer of paper behind the model. The crease resembles a mountain.

Pleat
Fold a valley fold and a mountain fold.

Reverse Fold (Inside Reverse Fold)
Fold a flap of paper in between some layers.

Outside Reverse Fold
Fold a flap of paper outside and around some layers.

Crimp
A combination of two reverse folds.

Squash Fold
Open up a flap of paper and squash it flat.

Swivel Fold
Slide a layer of paper and flatten.

Petal Fold
Open of a point and flatten so two opposite sides meet.

Rabbit Ear
Flatten a corner so all edges lie on the same line.

Sink (Open Sink)
Reverse a point to the inside of the paper. Much of the model may need to be unfolded to achieve this manuever.

Spread Squash
Open a point on the inside of the paper and flatten.

Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd.

www.tuttlepublishing.com

Copyright © 2014 John Szinger

All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher.

Library of Congress Cataloging-in-Publication Data

Szinger, John.Szinger, John.
    Origami animal sculpture : paper folding inspired by nature /
John Szinger.
          pages cm
    ISBN 978-4-8053-1262-9 (pbk.)
1. Origami. 2. Paper animal making. I. Title.
    TT872.5.S95 2014
    736’.982--dc23

2013040338

ISBN 978-4-8053-1262-9; ISBN 978-1-4629-1415-9 (ebook)

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