DECORATIVE MODULAR RING

Carrying on from yesterday's paper connection model I created a modular ring. There are two sections, which differ only in the finishing pattern of the center twist. The orange module overlaps the brown module at both ends.

CUBIC FRAME

I have been looking for something in which to store and display my increasing collection of kusadamas, some of which are almost 12 inches (30 cms) in diameter. Clear boxes have one or more of several problems: they are too small, not the right shape, too weak or very expensive.

I decided to make my own.

First I sought out designs for cut out boxes. None of these were entirely appropriate, either.

I began to think of making a rigid frame to which I could attach clear sheets of something. I wondered if the frame itself could be made out of some clear material. I am still wondering about that but do not have a clear answer yet. So far I have not come across anything clear that I would fold well. The closest thing is thin glassine which is not, of course, very strong. Velum cracks. Most plastic will not hold a crease.

I consulted the origami literature on the web but discovered that frames which I might be able to utilize just did not fit the bill. Some of the better ones were difficult to put together, where designed to form balls rather than cubes or had too many visually distracting struts. In other words they were meant to be an art form or their own rather than a vehicle to show off something else.

After weeks of frustration I decided to design my own display cases. I dislike working with huge sheets of material so I decided to make a modular frame which was strong enough to be made in a large size, be stacked up several high and be capable of having a floor inserted into it and acetate sheets glued to the struts or folded into them. I also wanted one which could be made into a cube or a rectangle and have struts where the thickness could be varied from model to model. In other words, I wanted a model which was fairly flexible in the way it could be made up and in the strength of the material which could be used to make it.

After several attempts which did not come out quite right, including one in card weight material, I came up with the model shown here.

The example is made from thin (20lb) copy paper in three colors. In spite of the flimsy paper the model is surprisingly strong. The example has strut reinforcers in the four uprights only and has a thin paper floor which is folded into the struts on two opposite sides.

As my dedicated readers will know, I tend to use copy paper for all my prototype models as it is cheap enough to throw away in bulk as I discard one failure after another.

Successful models are often made up with better paper but sometimes I post the designs here before I get around to that task - especially if the piece is a modular design which takes a long time to prepare, fold and put together. This one is a case in point. In any case, using three different colored papers helps demonstrate the way the model is put together.

I intend to make the functional models in stronger metallic paper reinforced with relatively thick card in all twelve struts. The disadvantage will be that the last tab in each triad will be relatively more difficult to push in. The acetate sheet walls and floor will be glued on as acetate tends to crack if folded. I will experiment with other types of relatively inexpensive clear material of various rigidities. Velum may work. Overhead projection slides may work. I doubt, however, that something as thin as the stuff used for wrapping food will be of any practical use.

Here are the crease patterns for the model.














This time I have included thumbnail copies of the folding instructions. The full sized ones will be available in my book when it is published. You may not be able to read all the written comments but the diagrams and images are big enough to allow you to make the model anyway. Have fun.

THE QUILT BOX: 2 & 3

Here are some "upgrades" on the Quilt Box.

THE BLUE BOX ironed out a couple of problems experienced in the original box which was the subject of the last posting. It also confirmed that this method of paper connection could result in a big highly decorative box of considerable stability.

I used a different method of module connection on this one. Although it removes the need for "patches" and "feet" to cover the holes at the intersections the disadvantage is that the corner pieces are somewhat bulky. This is particularly problematic around the top of the box. It does not have a lid because it would not sit well on top of this bulk.

Nevertheless, it is a good sturdy decorative open box.


As you can see in the last photograph of this model, I left the base fairly plain.








THE RED BOX uses the original method of module connection. The "legs" are identical but the "patches" now have their corners turned under. It seems to fit the rest of the pattern better.


The inserts are the same twisted cross design with the exception of the center panel in the front. The reason for this difference is that it permits the top lip to be tucked underneath the top section. This makes for a more secure connection than the method used on the original box.

The other lid flaps are simply tucked in, as before. If all the front and side panels were substituted with the insert used in the central front panel then all these five flaps could be tucked firmly underneath rather than just inserted loosely into the adjoining rim section. This would make it a very secure connection. The small air gap at the top front corners would disappear. The air gaps on the top back corners cannot easily be removed with a flush lid of this nature.




The inside of the box is much neater and less bulky than the blue box shown and discussed above.

NOTE: Having reviewed this posting I realize that the photo of the box parts awaiting 3D assembly is deceptive. It was taken early in the design process. After assembly I removed the cream connector pieces between the half squares which fold over the rim into the box and then redesigned how these sections hold together. Look at the last photo for further clarification.


Overall, I am reasonably happy with this version. It is time to make one from something other than cheap copy paper.




As I think I may have mentioned in previous posts, I use copy paper during the designing process because I destroy and throw out a lot of paper along the way to the final version. It would be wasteful to use expensive paper during this experimental stage.

During the design of this particular model there were a number of pieces of paper which became extremely battered from multiple creasings, re-creasinngs and total redesigning. This is usual.




It took some time to design the inserted module which I eventually used in the center front panel. Some versions worked but did not look "clean" or interesting. Others looked fine but did not work well, or even at all :-) As usual, I came up with some designs which did not fix the particular problem I was trying to solve but which are interesting in their own right and will probably be used in future models.

THE QUILT BOX

I have been exploring the use of connected carrier modules over the last several weeks. I have progressed from kusdamas through quilts (more later) and onwards. Here is today's experiment: a box made from connected carrier module "quilt squares".

I filled the carrier window pockets with four interleaved triangles. This gives the effect of four diamonds inside each window. I covered the connecting holes at the base with "feet". I added a strengthening and cosmetic insert to the back hinge (the lid). Finally, I added a knob on the top.

Although it looks complicated, most of the elements of this box are easy to fold and to assemble. The most difficult element are the legs, not because they are difficult to fold but because they are tricky to attach to the base.

I used different colors to emphasize the elements although I think the box would work better with fewer colors. A more sophisticated model might use gold paper for the knob and the feet.

The box is a little heavier than most because of the multiple layers of paper. On the other hand it is very sturdy.

I may change the closure technique in the next model to make it more secure. In this model the lid is tucked in between the wall sections and remains closed through friction. I would be more robust if it were folded over something on the walls of the box. I will experiment some more.

In this model there are small air holes around the edges of the lid. Perhaps I could modify the "legs" and add them around the edges of the lid. Finding a way to connect them firmly and still allow the lid to open will pose a challenge.

All the modules are from squares, with the exception of the legs which are made from half squares.

This was a "proof of concept" box along the way to making larger boxes with multiple quilt squares on each side. I have already discovered how to connect flat modules together firmly in large sheets and connect kusudamas together in a variety of angles. The main challenge in cubic 3D box construction was how to strengthen and hide the corner holes. After several failed attempts I finally came up with something that works, is relatively simple and looks decorative. Unfortunately this works on the corners of the base but not on the corners of the lid.

The technique should permit me to make rectangular box shapes as well as cubic ones like this sample. This is useful because rectangular shaped modular boxes are rare in the origami literature.

THE PAUL BACHMAN QUILT

I made this paper quilt while listening the FM Serious Music program. I have named it after the host who happened to be presenting the program when I finished it: Paul Bachman. Perhaps his colleague, Vincent Caruso will have one named after him next time.

What appropriate names these guys have. Caruso was a famous singer. There were several Bachs. Johann Sebastian Bach had two wives and 22 children. CPE Bach was one of that multitude. PDQ Bach, on the other hand, is advertised by his promoter Peter Shicklee as being the "last and also the least of Bach's sons". In spite of his exceptional pieces for four handed organists and his extraordinary compositions for rarely heard instuments, such as the left-handed sewer flue and the American Police Horn, his works are rarely heard on the FM classical music programs. A pity.

This is not any indication of favoritism on my part: they are both excellent presenters. I have had the pleasure of being entertained by the two of them while I traveled from San Francisco to Los Angeles last weekend for my annual "pilgramage" the Origami Teach-in at the Japanese Gardens in the grounds of the Long Beach campus of the University of California.

It was a very long drive since I went the scenic route: along the 101 Interstate and some back roads between it and the I5 as it came into Los Angeles over the mountains. The I5 is a much quicker road but it is rather boring for most of the way. The San Joaquin Vally, being an ancient sea bed, is quite flat. I swapped speed for beauty, and enjoyed a great deal of classical music along the way as an added bonus, thanks to Paul and Vincent. Thanks guys.

There are similarities between this paper quilt and the previous quilt and between them the flower ball kusudamas I have been creating lately. They all have "carrier" units which hold decorative units as well as provide a firm link with the connecting pieces.


The back of the quilt is interesting in its own right.

This kind of paper connection can be used to paint a picture or write a message with "paper pixels". This kind of project takes a lot of pieces and demands quite an investment of time. I have a project of this nature in mind for next November's Pacific Coast Origami Convention (PCOC). With some enlisted help from folding groups in LA, SF and San Jose, I hope to finish it before this event.

As luck will have it, PCOC is in my home city this year. It is close enough to drive there and back each day. I may need sedatives, though. The parking in SF is almost non-existent which is a problem for someone like me who cannot walk great distances. Then there is the peak period traffic density between the city of SF and the city of Danville, in the East Bay. Still, that is probably the better option than trying to take the BART there and back with a suitcase of display items accompanying me.

THE FRAGRANT FLOWER

This post continues the No-glue version of a flower used in traditional Japanese kusudama.


This series began in response to the Fragrant Blossom kusudamas created by the inimitable and talanted Puupuu. Here is a link to the folding instructions for this blue and white version of her Fragrant Blossom flower ball.

http://atelierpuupuu.blogspot.com/2008/06/anniversary.html







The No-Glue Fragrant Blossom has been modified and given connectors which look like leaves and sepals. I have renamed it the Fragrant Flower.

Crease Patterns are provided below.

The center hole is now filled with a light emitting diode (LED) which, being cool, does not burn the paper.




The diamond shaped piece (seen on the outside of the flower) connects to a petal in another flower (extra flower connector). It is wrapped around the petal (see the third photo). Actually, the petal sits inside it.

Continuous connection of these will result in a dodecahedron flower ball (ten flowered kusudama).

The electrical leads are slotted through each flower center. They are then bunched together and slotted through the hole in the center of the top flower. Use a plastic conduit to make it look neater.

If you prefer, you can push the lead-containing conduit through the gaps between the flowers so that the central column of every flower can contain a LED.

The leads become the power source for the lights as well as the "string" to hang up the model. Twist them neatly together after they come out of the conduit. You may like to add a LED inside the flower ball so that the light will shine through the gaps. If you use translucent paper (vellum, glassine or common waxed cooking paper) the light will shine through the petals themselves. The problem with these media is that they are more fragile, more brittle and may crease more easily than standard paper.

An alternative idea is to treat (soak or brush on) normal copy paper with oil or wipe on poly. This will make the model more translucent. I have not tried this idea out yet, so beware that you might ruin your model. Try it out on a flower first. Be aware that once the stuff dries you will lose some flexibility. This may make it difficult to connect this flower to other flowers. Wipe on poly makes the paper a little more brittle. This could be a problem. Oils may need to be renewed.



The pink petal connectors (intra flower connectors) are slotted through the gap between the violet petals and folded around the internal "stamen" (through but over the top of the green extra connector flaps inside the petal) and tucked in the nearest side. Repeat on the other side of the petal with another pink intra connector.

Close the flower petal by tucking the protruding "stamens" into the stamen pocket on the other side. The first one tucks into the medial pocket facing it (the one it is touching), the second tucks into the lateral pocket of the stamen facing it (on the other side of the one it is touching).

Yes, I know this is confusing when written rather than diagrammed. I intend to diagram this some time (which will probably result in my baldness from all the hair tearing out) but it won't be quick. So this, dear readers, is the interim instruction sheet.

I used to teach Australian Year 12 English at both Vocational and Tertiary Orientation levels (US Junior College AA and BA levels). One of the tasks I used to give them was to provide written instructions for a drawing task in such a way that other members of the class could draw the model just from the instructions. The results on the blackboard were usually hilarious, especially if the person was trying to follow instructions for drawing a set of steps. So I will forgive every one of you who fails to follow my instructions for this flower. I am sure that any of my past students who are reading this will be most amused to see their ex-teacher tying herself in verbal knots trying to explain how to construct a complex 3D model. Hi boys!


When I have completed the full dodecahedron model I will post photos here.

I am also working on a ten petal model where there is less space between the petals. The problem with the connection is that there is no straight forward way to connect ten-sided units together. The solution, I think, will be to treat two petals as a unit and connect them to their partners as if they were a single side. I hope this will work. I guess we will find out shortly.

Here are the crease patterns.

TOWARDS A GLUELESS FRAGRANCE KUSUDAMA

Perhaps you are familiar with the traditional Fragrant Blossom Kusudama, one of the most beautiful of the Japanese Flower Balls. Here is a photo of one made by Mio Tsugawa. You will find it on her blog, together with instructions for making it.
http://puupuu.ojaru.jp/zu/densyo/densyo1.html


It has long bothered me that this model, and others like it, use glue. Glue is just not a word generally associated with origami!

So I decided to design a model which did not use glue. Here is the copy paper version.





It has three different parts: two from a square and one (the central core) from a hexagon with the same diameter as the square sheets.

The peach colored material is a square which is folded almost identically to the traditional Fragrance model. The difference is that the peaks on either side are not folded down before the sides are folded over and brought together. When the sides are brought together these peaks are tucked into the pockets on the sides of the sections. One peak is folded into the medial (inside) pocket of its opposite partner. The other peak is then folded into the lateral (outside) pocket of its partner. The central section is now one, instead of three, sections but the petal stays together without glue. (You cannot see this in the photos because it is covered by material from the next piece).





The salmon colored material is made from another square which also begins its folded life by becoming a triangle. The central half is folded over and tucked into itself, in a similar fashion to what happened with the central sections of the petal. One of the side flaps is then posted through the slit in the front of a peach colored petal and wrapped around to the side of the stamen. Its tip is then pushed into the pocket at the top, which it now shares with the flap from the adjoining peach colored petal stamen. The other side flap of the salmon piece is inserted in similar fashion into the neighboring (next) petal. This leaves a triangular salmon colored section between the petals which, from the top of the flower, looks like another stamen.

Continue to add petals and connectors until the flower is complete. The resulting flower works best with six petals. Five seems a little loose.





The hexagonal cream center of the flower is formed from a hexagonal sheet. Once the central hexagon has been formed the rest of the sheet is carefully arranged into a tightly creased column and inserted into the center of the completed flower. The ridges of the hexagon column are held by corresponding ridges formed by the flower petals and their salmon colored connectors. A diagram would help, but it is more work than I feel like doing right now. Later, maybe.

I would rate this as a high intermediate model. It is not difficult to fold but it is tricky to put together. It requires helping instruments (I used a kitchen skewer) to push the flaps into the pockets. It is hard to keep the single thickness petal edges from being damaged by the tucking process happening in their vicinity. It needs patience to neatly arrange the folds of the stem of the central hexagon core.

Diagramming this model will not be easy and I suspect that I will restrict myself to teaching it in a class.

My next task is to create glueless connectors for the bases of the flowers so that the model can be transformed into a "proper origami" kusudama. This is complicated by the fact that my version of the flowers have six, rather than five petals. Six sided objects do not make a regular polyhedra without the addition of differently sided objects. I may have to find a way to modify the flower into a five petal version.

FLORAL DIVERSIONS

I find it hard to keep focused on one thing, especially if its development or production takes some time.

I still have not completed a display model of the Bounce and Tier Box. I have one section still to complete. Perhaps next week. Perhaps not.

I find myself easily distracted by other interesting design challenges or ideas which just have to be tried out before I forget them (damn my aging memory) or I get distracted from them, too (damn my ADD).

This week I found myself designing flowers with the intention of making a kusudama.

Never mind the fact that the Quad Lily is still waiting to be put together in this way and I have already designed the connector for it. But no! I find myself designing other things instead. It is slightly annoying. If my mind would just stop having fresh ideas I might get to complete those it has already produced. (Insert sighing sound here.)

So, back to this week's flowers.


I discovered that I could turn a double square twist into a variety of interesting flowers.

The original flower has a four-petal star-like center. It's the mauve one.



The next version has a central curled twist. It's the lilac one.




The third version has four raised points in the center. It's the peach colored one. It's also the one used for the collection.





The fourth version arranges the petals differently and looks something like a four-petaled rose. It's the shiny red one made from Stardream paper.




I found a way to provide them with connectors which double as leaves. All that remains to be done before they can be properly connected into a polyhedron is to design a triangular connector with bigger leaves. Undaunted by this unfinished task I have folded a box full of color coordinated copy paper flowers in readiness. Today's job is to begin folding the straight connectors.

SIMPLE CADDY BASKET

I am back after the next bout of illness. It is literally a pain being well past the middle aged bracket.






Here are photos of a caddy basket which is related to the Easter Baskets of the last posting. Most of them have the decorative end foldings on the inside of the box rather than the outside. The handles are modified for this contigency.

The blue and yellow basket is now owned by the person who also owns the hand holding it. It was made to match her choice of basket variation and in her choice of colors.

EASTER BASKETS - 2

Here are the crease patterns for the rectangular paper version of the Easter Basket.

The side wall V-creases have been omitted. You can add them if you wish. They help to shape the basket better when the handle is added but the model will function perfectly well without them.














The handle part is made from a piece of copy sized paper which has been cut in half width-wise (not length-wise). A half sheet of American Letter paper is thus 8-1/2 x 5-1/2 inches which is a little over a half square (which would be 8-1/2 x 5-1/4). When you make the diamond patterns on the handle be aware that the central diamonds are not at 45 degree angles like the diamonds at the ends. This is because the squarish sections on either side of the central crease are actually not squares.









In a day or so I will post patterns and pictures for a caddy version of the basket made from the traditional square with an edge-on handle made from a half square.