This piece is also part of my Intersections series. This piece combines the shape of my recent Hinged Bowl with an offsetting of the two halves I first experimented with last spring. This type of shape was my original plan when I started designing the Janus Vase, but figuring out a crease pattern that would work required approaching the form in a different way. This piece is folded from one uncut rectangle of Elephant Hide paper.
This piece is a continuation of my Intersections series, continuing with the same themes of unity and contrast as in my last piece. Instead of playing with a reversal of top and bottom, I am exploring a reversal of inside and outside, which gave one convex form and one concave form. The sharp inward slope near the base of the concave form was surprisingly difficult to collapse smoothly. Each form is folded from one rectangle of Elephant Hide paper.
This vase is part of my Intersections series. Here I am continuing to explore using flat planes to divide a curved form. In this piece, I am playing with themes of unity and contrast between the two halves. The two parts have the same curve defining their shape, but with a reversal of which end of the curve is the top and which is the bottom. Each of the halves is folded from one uncut rectangle of Elephant Hide paper.
Janus was the Roman god of beginnings. He was usually depicted with two faces pointing in opposite directions. Likewise, this vase has two ‘faces’, two halves with different shapes. I was originally trying to design a vase in a different shape, but I kept running into problems where I couldn’t get the paper to be where I needed it to be. When I instead started paying attention to where the pleats naturally fell and let that guide my design, this vase was the result. Because of the contrast in shape between the two halves, this form is probably more interesting that what I originally tried to design.
Like most of my recent work, this piece is part of my Intersections series. The whole vase is folded from one rectangle of Elephant Hide paper. This version has one small cut to help in collapsing the base, but I know how to redesign it without any cuts.
This vase is the newest addition to my Intersections series, using the modified pleating folding technique I developed for my last piece. Here I am continuing to use flat planes to intersect the curved form, uniting a precise mathematical shape with a flowing organic shape. This piece uses vertical planes to cut the form into thirds and horizontal planes to cut off the three parts at different heights. I started planning this piece in July and only recently decided I had the time and folding ability to actually make it. Each of the three parts is folded from a rectangle of Elephant Hide paper.
In my last tutorial, I gave step-by-step instructions on how to fold a vase using a pleated folding technique. In this tutorial, I’ll talk about how to design your own pleated vases and bowls. This post will focus on how pleated folding works, and later I’ll write a tutorial on how to calculate the correct dimensions for any shape. To start, here’s the pleated vase from my last tutorial:
Why does this crease pattern fold into that shape? Let’s start from very simple crease patterns and work our way up. Imagine that you took a long piece of paper and accordion-folded it, using equally spaced mountain and valley folds. All of the layers of paper end up on exactly top of each other to make a very narrow strip of paper.
Now imagine that instead of the folds being equally spaced, the pattern goes something like this: large gap, mountain fold, small gap, valley fold, repeat. If this pattern is folded, the layers won’t end up exactly on top of each other. The paper will be somewhere between the length it was when the folds were equally spaced and the length of the original strip of paper. As the small gap gets smaller and the large gap gets larger, the folded strip of paper gets longer.
Now let’s take those three examples and attach one end of the paper to the other end to make a tube. In all three examples, the paper starts off the same length. In the first example where the folds were equally spaced, the paper forms a very narrow tube. The more unequally spaced the folds are, the wider the tube is.
From these simple examples, we can understand how the pleated forms work. Just like the accordion-folded examples, the crease pattern below is based on alternating mountain folds and valley folds. In this example, the valley folds are straight and the mountain folds are curved. Either the mountain folds or the valley folds need to be straight lines; otherwise the form doesn’t collapse cleanly. We can think of the shape as a tube like our last set of examples, but in this case the width of the tube changes.
At the bottom edge of the crease pattern, the mountain and valley folds are equally spaced. Based on our accordion-folded example, that means the tube should be very narrow. And that’s what happens: at the center of the base, the layers of paper all match up, closing off the base. About a quarter of the way from the top edge, the mountain and valley folds in each pair are almost on top of each other. Here we expect the tube to be very wide. Again, that’s what happens: the place where the mountain and valley folds are closest together becomes the widest part of the vase. At the top edge of the crease pattern, the mountain and valley folds are somewhere in between – not evenly spaced, but not on top of each other. The top edge of the crease pattern becomes the rim of the vase, which is intermediate in width.
Here’s one more example. In the crease pattern below, the folds are equally spaced at both the top and bottom edges, and there are two places in between where the mountain folds curve so far out that they touch the valley folds. So in this model, both the top and the bottom are very narrow and there are two widest points in between.
Stay tuned for my next tutorial on how to figure out the dimensions for the crease pattern.
Here I’m going to show how to fold a simple vase using a pleating technique. I call it pleating because the shape is constructed by a series of mountain fold/valley fold pairs, just like pleats in fabric. This is the crease pattern I’ll be working from:
The crease pattern has seven identical rectangles, which I call gores. In the final form, the two end gores will be glued on top of each other to turn the paper into a tube, so only six gores will be visible. I designed this model to be simple enough to be folded from printer paper, but almost any paper should work.
The first step is to fold along all the lines in the crease pattern. The blue lines indicate valley folds, and the red lines indicate mountain folds. This step will make it easier to collapse the vase into its final shape.
The mountain folds are a bit more challenging because they are curved. I usually hold the paper up and pinch along the curve using both hands.
After all the folds are pre-creased, the model should look something like this:
At this stage, all the major folds are in place. All that is left is to collapse the vase into its final shape using those creases. The first step is to glue the paper into a tube. Glue the front of the gore on one end of the paper to the back of the gore on the other end of the paper. It only takes a tiny bit of glue – I used too much here, which wrinkled the paper. The paper should end up as a tube with six gores visible.
Once the glue is dry, it’s time to start collapsing the shape. I find it easiest to start collapsing from the base. Fold the paper along the creases you already made. In the very center, all the layers of paper should start to align:
For this model, it’s a bit tricky to get the base to stay closed. (With more gores and nicer paper, the base locks into place very easily.) Pinch the six corners of the paper that are sticking out to help lock the base in place.
Here’s what the finished base looks like:
The last step is to collapse the top edge of the vase. Again, fold along the pairs of creases that are already there. To get the paper to stay folded, fold the corner of the flap under. (Alternatively, you can glue the flaps down.)
Here’s the fully collapsed top of the vase:
Stay tuned for my next tutorial on how to design your own pleated origami models!
This piece is a new version of this model, also part of my Intersections series. The bowl is hinged so it can open and close. In the original piece, I used a pleated folding technique where all the folds pointed in the same direction. Unfortunately, this caused some distortions in the shape, which are hidden in the photo I posted. Here I modified the folding technique to use alternating directions of the pleats. Since the folding is more symmetric, the shape of the bowl also stays more symmetric. I am planning to use this new folding technique as I continue this series. This piece is folded from a rectangle of Elephant Hide paper.
This piece is the newest addition to my Intersections series. The bowl is hinged so it can close to a circle or open like you see here. The Intersections pieces are all among my most challenging to design and fold, and this one was no exception. I’d still like to tweak the design to clean it up a bit. This piece is folded from one rectangle of Elephant Hide paper. As with the rest of this series, the paper is not painted.
The Robert C. Williams Paper Museum in Atlanta, GA tells the story of how paper is made and displays various artwork based on paper. My artwork has been in the museum’s gift shop since August 2012.
A full list of my current shows and events is available here.
