lunes, 14 de enero de 2013

Origami Unicorn from cult film Blade Runner


Origami Unicorn from cult film Blade Runner by Ridley Scott. Music by Glenn Gould (Bach's French Suites [Bach, French Suite 1 in d, BWV812 - 1 Allemande and Courante])

sábado, 13 de octubre de 2012

Da Vinci Origami

origami with DaVinci robot - YouTube

www.youtube.com/watch?v...Share
30 Nov 2006 - 1 min - Uploaded by gombello
Japanese surgeon making origami with DaVinci robot.

http://books.google.hu/books?id=rPOaDyMorfgC&q=

Houdini's Paper Magic

Front Cover
Kessinger PublishingApr 1, 2003 - 216 pages
The whole art of performing with paper, including paper tearing, paper folding and paper puzzles. Houdini describes in detail the methods of performing a myriad of paper tricks, such as cigarette paper tear, production of confetti, floating ball, ring and program, ballot or pellet test, shaving stick, Japanese butterflies, and many others.

Unamuno Origami


Folding Theory

Posted in Beinecke LibraryGeneral Modern Collection by beineckepoetry on January 7, 2008
From La Cocotologie: Notes pour un Traité by Miguel de Unamuno (Paris, 1946).
A detailed philosophical essay on origami, with engravings by Gérard Angiolini.
(Translated into French, after the 1902 Spanish original in Unamuno’s Amor y Pedagogia, a satirical novel on the excesses of positivism.)
Tagged with: 


Origami in Fine Art
Yesterday I received a private e-mail asking if I knew of any early paintings which incorporated paperfolding. I thought that my reply might be of interest to subscribers to Origami-L, so here it is.
I am asked if I know of any early paintings which incorporate folded paper figures as part of the background or foreground detail. My enquirer has a vague recollection of having seen a European painting which incorporates a small "pajarita". He studied art history many years ago, but has been unable to locate a reference to such a picture. One picture which depicts a pajarita is "The Merrymakers" by Carolus Duran of Paris, dated 1870, which is in the collection of the Detroit Institute of Arts. This picture shows a group of three women sitting found a table entertaining a child of about 18 months who sits on the lap of one of the women. On the table are an apparently live bird with a long tail and also a traditional paper pajarita which the woman sitting opposite the child is holding. This picture is reproduced on the front page of the Newsletter of The Friends of the Origami Center of North America for the Fall of 1989.
It will probably be known that the Friends of the Origami Center are now known as Origami USA and the name of the Newsletter has been changed to "The Paper". I do not know whether copies of this issue are still available. There are also two paintings of the Spanish poet and philosopher Miguel de Unamuno, who died in 1936 at the beginning of the Spanish Civil War. Both are by Ignacio Zuloaga y Zamora and depict Unamuno's angular paperfolds of birds. They were created by Unamuno in the early years of the 20th Century, and anticipated by some twenty or thirty years some of the techniques of the later Japanese folder, Akira Yoshizawa, who is credited with revolutionising the art of paperfolding.
I do not know the actual sizes of the two paintings. Painting A is reproduced in black and white in "The Art of Origami" by Samuel Randlett (1961) and it shows Unamuno with two of his paper birds. I do not know where the original painting is kept. Randlett does not give his source or any acknowledgement. I also, separately, have a photograph of painting A in colour, which shows it to be in horizontal format. I recently received copies of reproductions of both paintings from David Brill, to whom they had been given by Juan Gimeno of Spain a few years ago. The reproduction of painting A is, again, in black and white, but that of painting B is in colour and shows it to be in vertical format. It includes only one single paper bird. The two paintings both seem to be "finished" works and while the compositions of the two paintings, with Unamuno sitting at his desk are broadly similar, neither seems to be a sketch for the other. There is no further information about where the original paintings are kept.
Many years ago someone asked me about a painting in the Louvre, in Paris, which she understood depicted a paperfold. At one time I made a fairly detailed study of the paintings in the Louvre, but I do not remember ever coming across such a picture. It may have been that the enquirer was confusing it with the painting at Detroit which was by Carolus Duran who resided in Paris. Origami is quite frequently depicted in Japanese prints, often of exquisite quality, of the 18th and 19th centuries. So far as I know, there is no book of reproductions of them in English, but there is a large A4 sized booklet in Japanese which depicts a fair collection of them. This is by Satoshi Takagi and the translation of the tittle is sometimes given as "Origami from the Classics". The booklet was published in 1993 by the Nippon Origami Association and is probably still obtainable from them.
In October, 1999 there was an exhibition on the history of origami held in Tatsuno, Japan. The Japanese historian of origami, Masao Okamura wrote the text for a really splendid catalogue of the exhibition. Although I cannot read the text (how I wish I could!), I can appreciate the magnificent illustrations which are mostly in full colour. This book, too, gives a good selection of Japanese prints depicting origami, along with much other iterating matter. If anyone know of any other illustrations of origami in works of fine art, I shall be very grateful for the information.
David Lister Grimsby, England.



Au début était la Cocotte : ""Traité de cocotologie"".Miguel de Unamuno, TRAITE DE COCOTOLOGIE, présenté par Fernando Arrabal. Les Editions de Paris, 124 pp., 100 F.

5 janvier 1995 à 00:35
Par MAGGIORI ROBERT
Les cocottes en papier. Et pourquoi pas une phénoménologie des
morpions? Trouverait-on jamais dans l'oeuvre de Heidegger une étude du jeu de quilles, ou, dans celle de Kierkegaard, un «Traité des quatre coins et de la marelle»? Quel penseur saugrenu peut bien avoir écrit sur les cocottes? Eh bien, l'un des plus grands philosophes espagnols, l'auteur de l'Agonie du christianisme et du Sentiment tragique de la vie, le recteur de l'université de Salamanque: Miguel de Unamuno! Gag? Peut-être, mais le livre est là, en bonne et due forme, préfacé ­ ce qui n'est pas pour réduire l'extravagance ­ par Fernando Arrabal, et s'intitule: Traité de cocotologie. Et il n'y a pas d'erreur: la cocotologie n'est pas l'étude des cocotiers, ni la science des mauvaises odeurs, ni la technique de fabrication des autocuiseurs, ni l'art d'approcher les filles de joie, mais bien la nouvelle et éminente discipline, qui s'applique à révéler tous les mystères des petits oiseaux que l'on fabrique par pliage de papier ­ et qui eût pu s'appeler papyrornithologie si le terme n'avait fait mauvais genre.
Miguel de Unamuno a donc écrit un Traité de cocotologie. En réalité, sous ce titre invraisemblable sont réunis des «Apuntes para un tratado de cocotología», notes rédigées en 1910 et publiées en 1934 comme complément au roman Amor y pedagogía, une «Histoire de cocottes de papier» (1888), et deux autres articles sur les jeux d'échecs, l'un publié dans la revue argentine Caras y Caretas (1922), l'autre tiré du recueil d'essais Contra esto y aquello (1912). L'essentiel du savoir cocotologique se trouve dans les «Notes», écrites avec une emphase ironiquement académique et attribuées par Unanumo à un certain don Fulgencio Entrambosmares ­ qui est un personnage de l'un de ses romans ­ ainsi que dans l'«Histoire», contenant plutôt, comme autant de métaphores, l'évocation de souvenirs d'enfance et d'âpres batailles d'infanterie et d'aviation cocotesques.
José Ortega y Gasset, l'autre grand de la pensée ibérique, a dit ceci d'Unamuno: «Quoique sa méthode ne m'attire pas, je suis le premier à admirer l'étrange attrait de sa figure, silhouette démesurée de mystique énergumène qui se dresse sur le fond sinistre et stérile de l'abrutissement péninsulaire...» Et Antonio Machado: «Dans notre monde intellectuel (1905), personne ne suscite autant la guerre que la savant Unamuno. Un esprit batailleur, expansif et généreux, habite cet homme quichottesque...» Quant aux manuels d'histoire de la pensée, ils présentent sa philosophie, inspirée de Pascal, de Spinoza, et de Kierkegaard, comme une critique radicale des insuffisances du rationalisme et de l'idéalisme, et une valorisation «existentialiste» de l'individu concret, en proie à une viscérale «soif d'éternité» et immergé dans la douleur et les contradictions du «vécu». Les cocottes en papier, on le voit, n'apparaissent pas tout de suite.
Né à Bilbao le 27 septembre 1864, Unamuno fait ses études à Madrid et obtient son doctorat en 1884. Mais l'université lui fait mille tracas. Trop original, déjà plus savant que ses maîtres, peu respectueux des «auteurs au programme», sympathisant socialiste, rédacteur du journal la Lutte des classes, il n'obtiendra la chaire de grec, à Salamanque, qu'en 1891. La même année, Unanumo épouse Conceptión Lizárraga, qu'il avait secrètement choisie dès l'âge de 14 ans. Il aura d'elle neuf enfants. En 1897, il est atteint d'une maladie cardiaque dont il ne guérira jamais complètement et qui sera l'occasion d'une profonde crise religieuse, comme l'atteste son Journal intime (1), presque entièrement parcouru par les problèmes de la foi (qu'il perdra plus tard), la souffrance, l'au-delà, le Dieu-amour, le salut par Jésus Christ. La fuite en goélette Toujours suspect aux hommes de pouvoir et d'Eglise en raison de sa force polémique, son esprit d'indépendance et son... sale caractère, Don Miguel est quand même nommé en 1900 recteur de l'université de Salamanque. Il est destitué de sa charge en 1914, pour hostilité à la monarchie. Les articles qu'il écrit contre la dictature de Primo de Rivera, «oie royale», sont d'une telle virulence qu'il est finalement exilé à l'île de Fuerteventura, aux Canaries, d'où il s'enfuira à bord d'une goélette française. Il séjourne alors à Paris, puis, pour être plus près de l'Espagne, se fixe en 1925 à Hendaye. Revenu à Salamanque après la proclamation de la Seconde République, le 14 avril 1931, il retrouve son poste de recteur et est élu député. Il a alors une influence exceptionnelle sur la vie culturelle et politique de son pays. En 1936, contraint au silence, il exhibe devant les troupes franquistes qui occupent sa ville, une affiche ainsi rédigée: «Il est des moments où se taire, c'est mentir. Il ne suffit pas de vaincre, il faut convaincre.» Assigné à résidence, il meurt le 31 décembre 1936.
Unamuno a produit, dit-on, autant que Balzac. Mais ce qui étonne, c'est moins la quantité que la diversité, la polymorphie de l'oeuvre: helléniste, philosophe, historien, journaliste, homme politique, linguiste il lisait quasiment toutes les langues européennes, et apprit le danois juste pour lire Kierkegaard ­, Unamuno a écrit des essais, des romans, de nombreux recueils de poésie, des nouvelles, des oeuvres philosophiques, des pièces de théâtre, des contes, des discours ­ et échangé une abondante correspondance. Du lyrisme bouleversant du Christ de Velázquez ou des subtilités de la Vie de don Quichotte et de Sancho Pança, on pourrait arriver à la veine comique du Traité de cocotologie.
Une expérience proche du nirvana Pourquoi comique, d'ailleurs? La cocotologie ne relève pas de la pochade, c'est une science de «très haute portée, ouvrant les plus vastes horizons à la pensée humaine, et l'entraînant dans de sublimes contemplations». Plier et replier de ses doigts agiles la feuille de papier est une expérience proche du nirvana, parce qu'elle révèle la Perfection. Et on se demande même, à condition de ne pas suivre ce benêt de Darwin qui du gallinacé fait un produit de l'évolution, si la cocotte ne vient pas avant l'Enfant, avant l'Homme, tant elle ressemble à l'Objet Premier, au Prototype Incréé. Au début était la Cocotte, non le Verbe! Aussi faut-il commencer par «étudier l'embryologie de la cocotte en partant du carré primitif de papier, qui issu du protoplasme papyracé, est l'ovule d'où la cocotte se développera», puis continuer par la physique, la dynamique, l'anatomie, la physiologie, la sexualité de la cocotte: «si, au moment du second pliage des côtés, on rabat les petites côtes vers l'extérieur, de manière dermatosquelettique, au lieu de les laisser à l'intérieur, on verra apparaître le sexe, d'abord indifférencié, puis différencié»: neutre, hermaphrodite, femelle, mâle. De façon à mettre en évidence l'«admirable, providentielle et téléologique harmonie» de la cocotte, un être «triangulo-rectangulo-isocèlique» qui contient même en son sein diagonal l'incommensurabilité de racine de 2 et ne peut donc que participer d'une «Intelligence créatrice et ordonnatrice» mettant directement l'homme en contact avec la Transcendance, non mais. Si le monde, comme le pensait Galilée, est écrit en caractères mathématiques, la poulette en papier en est bien le dictionnaire! Et dire que certains commentateurs ont vu en Unamuno un critique de l'esprit de système, de l'ordre rationnel, de l'abstraction des sciences, alors que tout le Traité de cocotologie montre à quel point de vérité mathématique aboutit l'étude de la cocotte, même vue de profil ­ de cette cocotte sous laquelle Unamuno, enfant, collait par les ailes une mouche qui la faisait, vvrrmm, s'envoler.- Robert MAGGIORI 1) Traduit par Paul Drochon, Le Cerf 1988.


MIGUEL DE UNAMUNO : TRAITÉ DE COCOTOLOGIE

MIGUEL DE UNAMUNO : TRAITÉ DE COCOTOLOGIE

Un livre, un jour - 01/02/1995 - 01min43s
411 vues
Olivier BARROT, entouré de cocottes en papier, présente le livre de Miguel de Unamuno "Traité de Cocotologie", sorte de pastiche des traités scientifiques. (Editions de Paris).

http://en.wikipedia.org/wiki/Origami_techniques


Yoshizawa–Randlett system

From Wikipedia, the free encyclopedia
  (Redirected from Origami techniques)
The origami crane diagram, using the Yoshizawa–Randlett system
The Yoshizawa–Randlett system is a diagramming system used to describe the folds of origami models. Many origami books begin with a description of basic origami techniques which are used to construct the models. There are also a number of standard bases which are commonly used as a first step in construction. Models are typically classified as requiring low, intermediate or high skill depending on the complexity of the techniques involved in the construction.

Contents

  [hide

[edit]History

The concept of diagramming originated in the 1797 book “Senbazuru Orikata”, the first origami book ever published. The diagrams in this book were very unclear, and often only showed the end result of the folding process, leaving the folder unsure how the model was created.
Later books began to devise a system of showing precisely how a model was folded. These ranged from an unwieldy set of symbols to a photograph or sketch of each step attempting to show the motion of a fold. None of these systems were sufficient to diagram all models, and so none were widely adopted.
In the 1950s and '60s, Akira Yoshizawa proposed a system of diagramming. He introduced its diagramming notation in his first published monograph, Atarashi Origami Geijutsu(New Origami Art) in 1954. He employed dotted and dashed lines to represent mountain and valley folds, and a few other symbols such as the “inflate” and “round” symbols. This system caught the attention of Samuel Randlett and Robert Harbin, who added a few symbols such as “rotate” and “zoom in”, and then adopted it as the standard. The Yoshizawa–Randlett system was first described in Samuel Randlett's Art of Origami in 1961.[1] It was then accepted as the default throughout the international origami community, and is still in general use today.

[edit]Origami symbols

[edit]Basic folds

There are two main types of origami symbol, lines and arrows.[2] The arrows show how the paper is bent or moved. Lines show various types of edges:
  • A thick line shows the edge of the paper
  • A dashed line shows a valley fold. The paper is folded in front of itself.
  • A dashed and dotted line shows a mountain folds (there may be one or two dots per dash depending on the author).The paper is folded behind itself, this is normally done by turning the paper over, folding a valley fold and then turning the paper back over again.
  • A thin line shows where a previous fold has creased the paper.
  • A dotted line shows a previous fold that's hidden behind other paper, or sometimes shows a fold that's not yet made.
Symbols for basic folds
Dashed line shows fold line. Curved arrow with solid arrowhead shows direction of fold. Example shows upper left corner of square paper raised and then brought down on middle of square to form a 45 degree valley fold across upper left corner of paper
Valley fold  
Dash-dot line along fold. Curved arrow with open arrowhead for direction of fold. Example shows lower right corner of square paper swung underneath and past upper left corner to form a 45 degree mountain fold across upper left corner.
Mountain fold.  
Dashed line shows fold line. Curved arrow with a solid arrowhead and a body with an acute angle so the arrow appears bent in the middle. Alternate arrow has a single curved line with a solid arrowhead on one end and an open arrowhead at the other end replaces the acute angle and returning half of the arrow. Example showing a paper with the right edge lifted, brought to touch the left edge, creased in the middle, and then unfolded.
Fold and unfold valley.  
Turn over and invisible line.  

[edit]Common operations

The operations shown here are all fairly common. The pleat folds and reverse folds are often done with the two creases at an angle. Reverse folds of a corner are typically used to produce feet or birds heads.
The sink fold is considered an intermediary to high skill. The version shown here is called an open sink and there is another version called a closed sink which generates a triangular pocket with no flaps showing. In simple cases the model can be partly unfolded and then folded with the sink in place.
Origami symbols
Rotate.  
Put the points together  
Open.  
Pull.  
Repeat action.  
Pleat fold, also called an accordion fold.  
Inside crimp fold.  
Outside crimp fold.  
Inside reverse fold.  
Outside reverse fold.  
Inflate the model.  
Sink a corner.  

[edit]Compound folds

  • A squash fold starts with a flap with at least two layers (for example, one flap of a waterbomb base). Make a radial fold from the closed point down the center of this flap. Open the flap and refold downward to make two adjacent flaps.
  • A rabbit ear fold starts with a reference crease down a diagonal. Fold two radial folds from opposite corners along the same side of the reference crease; the resulting flap should be folded downwards so that the previous edges are aligned.
  • A petal fold starts with two connected flaps, each of which has at least two layers. (For example, two flaps of a preliminary base). The two flaps are attached to each other along a reference crease. Make two radial folds from the open point, so that the open edges lie along the reference crease. Unfold these two radial folds. Make another fold across the top connecting the ends of the creases to create a triangle of creases. Unfold this fold as well. Fold one layer of the open point upward and flatten it using the existing creases. A petal fold is equivalent to two side-by-side rabbit ears, which are connected along the reference crease.

[edit]Origami bases

In origami, there is a series of several bases that many models are created with. In general, "base" refers to any folded paper that immediately precedes final folding and shaping of the model-to-be. The ones listed below are generally accepted as the traditional origami bases.
  • A blintz base is made by folding the corners of a square into the center. The resulting square can then be used as the starting point for any base or blintzed again. The resulting base will then have more points available for folding.
  • The kite base is merely two valley folds that bring two adjacent edges of the square together to lie on the square's diagonal.
  • The fish base consists of two radial folds against a diagonal reference crease on each of two opposite corners. The flaps that result on the other two corners are carefully folded downwards in the same direction. In other words, it consists of two side-by-side rabbit ears.
  • The waterbomb base consists of two perpendicular valley folds down the diagonals of the square and two perpendicular mountain folds down the center of the square. This crease pattern is then compressed to form the waterbomb base, which is an isosceles-right triangle with four isosceles-right triangular flaps. The waterbomb base is an inside-out preliminary fold.
  • The preliminary fold consists of two perpendicular diagonal mountain folds that bisect the corners of the square and two perpendicular valley folds that bisect the edges of the square. The paper is then collapsed to form a square shape with four isosceles-right triangular flaps. It is sometimes called the Square Base
  • The bird base, or crane base, consists of a preliminary fold with both the front and the back sides petal folded upward.
  • The frog base starts with a waterbomb base or preliminary fold. All four flaps are squash-folded (the result is the same in either case), and then the corners are petal folded upward.

[edit]More advanced skills

  • The Swivel fold is difficult to describe as the term is loosely defined and there are so many different versions that could be called "swivel folds". However, generally swivel folds involve a flap of paper "swivelling" at a certain point or vertex and another flap or edge of paper, connected to the first, dragged around that point or vertex.
  • Most of the creases in a stretched bird base are present in the regular bird base. When forming this bird base, make sure to crease the triangle at the center corner through all layers. (If you unfold completely, you will see a small square at the center of the paper.) After forming the bird base, either partially unfold the paper, and/or "stretch" two opposite corners of the bird base. These two corners, their associated flaps, and the central square will all lie flat. The other two flaps will form a pyramid. Rabbit ear each flap that is in the pyramid, so that the model lies flat. All of the raw edges will lie along the centerline of the model. The stretched bird base is used in Lang's Bald EagleGreenberg'sEeyore, and some other high-intermediate and complex models.
  • The open sink usually involves opening out the paper, and reversing creases to make a waterbomb base in the middle of the model.
  • The open double sink is equivalent to making an open sink, and then open-sinking the point in the opposite direction. It is a sinked analog of the crimp fold. When made in a single step (after pre-creasing), it can be easier to make than a single open sink, because it does not require neatly reversing the point. The open double sink is used in many box-pleated models.
  • The spread squash can similarly be considered the sinked analog of the squash fold. It is used to flatten a closed flap or twist fold (see below). Instead of creating a long point to one side of the flap's base, the spread squash creates a wide splat around the flap's base. The spread squash is used in the eyes of Engel's Octopus, in Marie's Rose, and in some other intermediate and complex models.
  • The closed sink simultaneously makes a locking flap inside of a sink. It is difficult because the paper cannot be opened out further than a triangle. This technique is illustrated inthe Origami Forum's thread #462. The closed sink appears in some high-intermediate and complex models.
  • The twist fold involves, as the name implies, twisting a section of the paper with respect to its original position. The section twisted will be a polygon; the numerous required support creases include pleat folds radiating from its corners. Marie's Rose demonstrates this on a pentagon.
    • It is also possible to twist a single conical point indefinitely, collapsing the sides in a waterbomb-base-like fashion as one goes. (If this is tried with a non-conical point, such as the waterbomb base itself, eventually the fold will terminate in a spread squash.) This variant is used in many of Tomoko Fuse's modular boxes.
  • Unsink, or sometimes open unsink, makes a concave pocket convex without fully unfolding the paper, or the opposite of an open sink. It is more difficult than the closed unsink below because there is no internal flap to grab onto to help unsink the paper, so the paper must be opened out and the area to be unsunk is pushed out (to be convex) from inside the model and from behind. It is a common fold in Lang's insects.
  • The closed unsink inverts a closed sink without completely opening out the affected paper. In theory, it is "just" the opposite of a closed sink. In practice, it is very difficult, because the paper being "popped" into place usually must be pulled (not pushed), and because it involves simultaneously folding over a locking flap that is hidden inside the sink. However, it is easier to manipulate than an open unsink as there is an internal flap to pull to pop the unsink in place; in an open unsink there is nothing to hold. The closed unsink appears in some complex models, such as a few of Lang's insects.