Floating diagonal shift vase 2
This piece is also a part of my new diagonal shift series, somewhat inspired by my original Floating Diagonal Shift Vase. This is my first piece to incorporate a downhill diagonal shift with a change in width. Like one of my most recent pieces, since the uphill and downhill shifts are at the same angle, the top and bottom part of the vase line up vertically.
Uphill/downhill diagonal shift vase 2
This piece is another addition to my new diagonal shift series. The crease pattern is fairly similar to my most recent piece, with some rearrangements and rotations. The downhill shift lets me create these pieces that look more off-balance than most of my original diagonal shift. For most of these pieces, I add plastic weights to the base to keep the piece from falling over.
Uphill/downhill diagonal shift vase
This piece is the latest addition to my diagonal shift series. This piece is my first to combine an uphill shift and a downhill shift in the same design. I aligned the two shifts on the same angle, so the top and the bottom halves of the vase are vertically aligned with each other. This creates the illusion that the middle section is sliding out of the vase.
Bent diagonal shift vase
This piece is another variation of my new diagonal shift series. Like my last downhill diagonal shift design, this piece is a combination of my normal diagonal shift with my recent crimp-bends. The difference is that this piece includes only one bend above the diagonal shift; this creates a difference in angles between the top and bottom halves of the vase.
Downhill diagonal shift vase
This vase uses my recent downhill diagonal shift. The design is quite a bit like my original diagonal shift series, but with some new engineering and a new color scheme. I’m enjoying working with more color, but the brighter colors are also more challenging to work with than the metallic paints I used in my earlier diagonal shift pieces. The paint starts soaking into the paper so quickly that it’s challenging to fix any mistakes or tweak colors without adding a darker second layer. But I like the brighter colors and being able to explore interesting color combinations.
Downhill diagonal shift
I’ve been working on diagonal shift designs for a couple years, but up to this point all of the fully paper diagonal shifts have been ‘uphill’ shifts. With the basic crease pattern I’ve been using, a specific height of the sine wave naturally gives a matching distance for the uphill shift.
After designing my crimp-bent tubes, I realized I can add one bend immediately above the diagonal shift and one bend directly below. This reorients the shift so it’s angled downhill instead of uphill. Because the shift and the bend use the same sine wave, it’s not obvious unless you look very closely that there are extra layers of paper there.
This vase uses my recently developed bends to create a zig-zag bend somewhat reminiscent of my diagonal shift series. I like taking simple, elegant vase and bowl forms and adding surprising elements that look almost impossible to create from a single uncut rectangle of paper. Unlike most of my diagonal shift pieces, I decided to align the painted sections across the bend in this piece.
As usual, I painted the paper before folding this model, and I was able to align the painted sections within about 1 mm. That’s pretty good alignment for how far apart the three painted sections are on the full sheet of paper. Each of the two bends hides quite a bit of paper inside the model. The 90-degree bends are a bit harder to fold than the smaller-angle bends I’ve tried before, but they still require a lot less fighting with the paper than the diagonal shifts do.
Last week I posted photos of some test folds of simple bent tubes. This design uses a series of eight bends to create a helix. I usually base my models on 16-sided tubes, but here I simplified to just 8 sides. Since the bends are all at different angles relative to the tube, the paper curves in three dimensions to approximate a helix instead of a flat doughnut. It’s interesting that a design like this with only straight folds can fold into such a curved-looking shape.
Wide and narrow crimp bends
Most of the origami I’ve done for the past several years has been based on shaping tubes of paper in various ways, whether that’s by adding curves or intersecting the tubes with vertical or diagonal planes. One thing I’ve wanted to figure out for a while is how to create bends and curves in the paper tubes. I’ve explored some simpler approaches to that problem before, but this is the first approach I think I can realistically use as a part of a more complex model.
The concept here was inspired in part by my diagonal shift design. The top and bottom edges of the bend are both sine waves, which get folded such that they touch each other along the bend line. Inside, each gore has a small crimp to create a partial flat plane visible inside the model. The crimps all have slightly different angles, but the mathematical to find those angles is the same that I used for the diagonal shift.
Here’s the inside view for a simple tube of paper:
Inside view of the wide crimp bend
Things get a bit more complicated when there is already overlap of the paper along the outside of the tube, but the concept is the same. It’s harder to see, but there’s a similar partial plane of paper inside this one, too:
Inside view of the narrow crimp bend
It’s a decent bit of work to measure and score all the appropriate lines for these, especially for the narrower tube, but the folding went more smoothly than I expected. Especially with a bit of wet-folding, all the crimps seem to form fairly easily. I have quite a few ideas of how I’d like to incorporate these into a variety of more complicated designs.
Origami-Ceramic Diagonal Shift Set
I’ve been working recently on pieces that combine origami and ceramics, and this set is a continuation of that exploration. For all three pieces, the bottom half is ceramic, and the top half is origami. These pieces are inspired by my diagonal shift series that was fully paper-based. For those pieces, the crease pattern I used only allowed the top half of the paper to shift “uphill” like the rightmost piece, but by combining media I was able to explore a wider range of possibilities.
I planned the angle of the diagonal plane so the uphill and downhill pieces would be shifted by similar distances from the center. Since all of these pieces are made very differently, I took pictures to show how all of these work:
Aligned piece construction
The middle piece, where the origami and ceramic parts are aligned, is probably the most straightforward. I used a sine wave to find the correct diagonal plane to align with the ceramic piece, then folded the paper in a bit so the lower part would sit inside the ceramic piece.
“Uphill” shift construction
The uphill shift piece is folded in essentially the same way as my other diagonal shift pieces. Like the aligned piece, the bottom part of the paper model sits inside the ceramic piece.
“Downhill” shift construction
The downhill shift piece is the most different from what I’ve done before and the one that I don’t know how to fold cleanly from one piece of paper. The paper piece has a flat diagonal plane on the bottom similar to my previous diagonal shift pieces and a short “stem” that sits into the ceramic base. Because of the relative paper lengths, the stem is shifted toward the blue edge of the paper. But since the hole in the ceramic base is all the way at the lower edge, I can still get an overall downhill shift.