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Avion en papier

Origami Instructions Free Online Diagram also shows the results graphically of moving away from the 'purest' form of Origami in each one of the eight directions. In some cases I possess marked the art as 'open-ended', for example paper-cuts.

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By this I mean that we no more have a shut system typical of Origami where a procedure exists to create a model and can return to the starting point. It is arguable that it is the closed-system through which can some- how break, this is the real characteristic of Origami. ShapingRegular figures such as triangles, pentagons are well set up for Origami.

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Kent du Pre has Avion En Papier Facile Qui Vole Bien done such work on Symmetric figures such as stars from which flowers can be folded. Irregular figures have came out occasionally, nevertheless the most extreme form only occurs in Paper Miracle with Rolf Harris's models. Silhouettes have zero restrictions in the Origami sense and are of course carefully related to paper slicing. In its simplest form cuts are made prior to folding in a symmetric and planned way which will 'open up' the material available without the need for excessive thickness. The most recent mention of the techniques is by Toshie Takahama who refers to it as Kirikomi and distinguishes it as typical of very early Japanese Origami.

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Uchiyama is reported as getting a patent in 1908 for 'KOKO'. style origami which appears to be the same in idea. Japanese books are packed with slitting to achieve hearing or a tail or even legs. Perhaps one of the most famous examples of theme 'slits to avoid folding' is in Fred Rohm's Festival pony in which 2 cuts are made, one for the ears and the other to offer enough points for the thighs. Rohm folded his Circus pony without cuts but the technique is then much more complex. Thus we have 2 motives for cutting appearing here; one to create new opportunities and the other to Bateau Pliage Papier Origami avoid the complexities of a model achieved only by folding.

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Within a corner of the Sustenance Industry Pavilion at EXPO', electricity was used to make Origami pigeons flap their wings. Modelling It is now usual in animal folds to call for a final modeling particularly when foil has recently been used and one can be certain of the substance remaining in place. A contemporary example of this is in Pat Crawford's models. Neal Elias who probably led the move in the West to THREE DIMENSIONAL insists on any modelling following the folding The technique of wetting the paper seems to be Japanese in origin was demonstrated by Yoshizawa at a Convention in Luton. Another method of damp moulding using paste in the preparation is discussed by Alice Gray she was shown it by Yoshizawa during a visit to Japan. The folds tend to be soft and we are approaching figurine rather than Origami.

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Typically the associated arts are Weaving cloth and Macrame which are open-ended. However string we can have 'Cats Cradles' which is a closed-systems game with direct analogies to Origami. Multi-layer Toshie Takahama has produced some superb examples of this variation of Origami. Typically the sheets of paper are folded together but usually opened at the conclusion to show the multi-layers usually with Origami Flower Rose different colours. In flower folding and possible doll-making the multi-layer strategy is exploited for their own sake with little or no folding involved. Multi-Part Isao Honda (15) was probably the first to write techniques involving 2 separate sheets of document each folded to symbolize some part of the creature and then brought collectively. The concept may well be traditional; if not in the way Honda uses it - see for example the Pagoda in Paper Miracle. Recently kits have came out for folding a monster from a quantity of squares of different sizes.

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Within the most extreme combinations of water and paper Origami Flower Stem we are, of course , in the world of fun which is obviously an open-ended art. DecoratingThe simplest step from the single coloring is one side female and one white or plain. A great deal of modern Origami exploits this colour difference. The delightful example is Mary Homewood's Robin. We can use the texture of our material which need not even be evade or paper. Neal Elias collects patterned foil and has shown models in 3 colours which depend after selecting the most appropriate pattern and cutting his material to get the colour exactly where he wants them. A more restricted form of decoration occurs in Japanese papers

which are already printed with a design well suited for a unique model. The end of this process is evidently the decoration of the final model and therefore into the decorative art proper which is open-ended. Lengthening By simply stretching our square we obtain rectangles then bows and finally string.

Fleur en papier

The trimming out of holes and so forth. to indicate eyes and so forth is sometimes found in Japanese books and we are obviously dealing with a approach which is becoming open-ended. When we fold in a symmetric way to prepare our paper for cutting the folding has obviously become secondary (2). Honda has called this kind of paper-craft Mon-Kiri (which means crest-making). Typically the last step in the slitting or cutting is paper-cutting, some of the finest examples are most likely from China and obviously here we have an open-ended Art form. Supporting A way of moving away from the 'pure' central form is that of supporting or adding display mechanics to the models. In its simplest form we may use stuff, staples or 'blue tac' to hold a model in the desired pose and position. Or we may use wiring or credit card. One of the most unusual form of 'display mechanics' that I actually am acquainted with is by Toyoaki Kawai.