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Origami penguins displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

CONTENTS PREFACE BY KIYO YOSHIZAWA

The Art of Origami: Poetry in Three Dimensions INTRODUCTION BY ROBERT J. LANG

Akira Yoshizawa: The Father of Modern Origami A Gift from Heaven Akira Yoshizawa Biography PART ONE

CREATIVE ORIGAMI A Note from the Author The Frontiers of Origami Composite Origami The Act of Creation A Guide to Origami Folding Symbols Preparing the Folding Sheet The Base Folds Glider Flying Carpet Houses among Trees Butterflies of Every Kind

Snail on a Leaf Fairy Tale Crowns and Caps Tiger Cub Tengu Masks Goldfish Mobile Flower Basket Emperor and Empress Dolls Five Musicians Children’s Day Carp Banner and Helmet Iris Blossoms Angel Fish Cuckoo Wild Geese Male and Female Pheasants Small Birds Dragonfly Bell Cricket Grasshoppers Crane Fox Head Two Types of Fish Sea Turtle Two Types of Shrimp Sled Dog

Rabbit in the Snow Bear Cub Baby Gorilla Christmas Origami Demon Masks Lion Mask Power Boat Aeroplane Lighthouse Children from Snowland Puppy PART TWO

EASY ORIGAMI A Note from the Author Bird’s Beak Dog’s Head Small Birds Tulip Emperor and Empress Dolls Tadpole Seesaw Caps Goldfish Elephant

Family of Crabs Snail on a Leaf Christmas Time Waterlily Bibliography About the Contributors

An origami Japanese macaque (Macaca fuscata) and infant displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

PREFACE BY KIYO YOSHIZAWA

The Art of Origami: Poetry in Three Dimensions Origami is an artistic form achieved by folding a sheet of paper according to a system of lines and surfaces. This art has aroused deep interest throughout the world for some time and is becoming ever more widespread. This book brings together over 60 origami models that originally appeared in two books by the origami master Akira Yoshizawa—Utsukushii Origami [Beautiful Origami] and Yasashii Origami [Easy Origami]—published in Japan in 1974 and 1978. The book addresses readers of different generations and takes them on their first steps into the land of origami, with models ranging from ones easily understood and constructed to those of the highest level of difficulty. In every case, the pieces selected from the body of work created by Akira Yoshizawa over many years are accompanied by the master’s original diagrams and presented with color photographs by Kazuo Hamada with my collaboration and accompanied by many interesting pieces of information. It was a deeply emotional experience for me opening the old boxes and taking out the origami wrapped in tissue paper. As they stood before me, pulsating with life, they took my breath away with their elegance.

Every country has a unique history, culture and traditions. In Japan, paper-making techniques passed down from distant epochs have evolved into a product of supreme value. High-quality handcrafted Japanese paper (washi) has always been regarded as something rare and precious. For these origami, the master chose paper that was best suited to the subject and the purpose of the model. This book presents origami conceived expressly for the enjoyment of young children as well as those with educational content, in addition to origami for adults. A variety of folding techniques are demonstrated in the easiest subjects in the second part of the book. Animals seem to come to life, birds to sing, flowers to emit fragrance…. The master taught us the importance of observation, of being perpetually conscious of our surroundings. Every system of folds is a mathematical object with a component of physics, to which is added the important element of nature with her laws. Every single crease made by a fold possesses its own particular function. I wish with all my heart that appreciation of the kind of origami invented and disseminated by the master, this type of artistic sculpture created in paper composed of soft vegetal fibers, will continue to become ever more widespread in the future.

Kiyo Yoshizawa, October 2014

Issunboshi or Little One-Inch, the Japanese Tom Thumb character in a popular fairy tale, fighting an ogre, displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

INTRODUCTION BY ROBERT J. LANG

Akira Yoshizawa: The Father of Modern Origami Akira Yoshizawa is considered by many to be the father of the modern origami movement. At first glance, one might wonder why this would be so. After all, origami is an ancient art within Japan, and we find examples of paper-folding in many other ancient cultures, even in the Americas over a thousand years ago. Yoshizawa-sensei was certainly not the only Japanese artist creating original designs in the mid-20th century. It is fair to say, however, that he was by far the most influential origami artist. By the end of the 20th century, origami had become a worldwide passion and an art of astounding diversity, with active societies and creative artists in many countries on nearly every continent. If, however, you trace the origami lineage of any given artist— who they learned from, who they were inspired by—while their roots may be manifold and diverse, the deepest roots lie within the Japanese folding art, and the majority of those roots pass through the work and inspiration of this man.

Robert J. Lang

PERSONAL REMINISCENCES I first learned of Yoshizawa in my childhood via English-language origami books, which described him as the grand master of origami, showed a few of his simpler designs, but hinted at additional remarkable, unbelievable artworks whose instructions, infuriatingly, did not appear anywhere. Hints were there in the photos, though. His great opus, Origami dokuhon I, which I eventually acquired, showed folding instructions for a simple horse, but accompanied it with a photograph of an incredibly detailed and lifelike horse, along with a caption that said something along the lines of “with a little bit more folding, you can make something like this.” Throughout my own origami development, Yoshizawa was the semi-mythical, somewhat mysterious ideal to aspire to. In 1988, I had the incredible good luck to meet him for the first time. He came to New York for the 10th anniversary celebration of the Friends of the Origami Center of America (FOCA, which was the American origami society whose predecessor, the Origami Center of America, was founded on the model of Yoshizawa’s International Origami Center). I had the opportunity to organize a panel discussion on origami diagramming standards.

As here was the man who had invented origami diagramming, we leapt at the chance to invite him. He spoke for about 20 minutes on a wide range of topics, not just diagramming. In fact, what seemed to matter most to him was one’s mental attitude, one’s entire approach. He spoke of character, of natural qualities, of having one’s “spirit within [the artwork’s] folds.”

Yoshizawa at Origami USA’s panel discussion, 1988.

I had the chance to meet him again in 1992 when I was invited to address the Nippon Origami Association at their annual meeting in Japan. During that trip, my hosts arranged for me to meet several origami artists, including the great Yoshizawa, this time at his home and studio. This was not an easy thing to arrange, but through the skillful negotiations of my host and guide, Toshi Aoyagi, an audience was arranged, and presently I was ushered into the inner sanctum where Yoshizawa greeted me, grinning, and then proceeded to show me box after box, drawer after drawer of the most extraordinarily folded works I had ever seen.

And then, finally, I got a glimpse of what set him apart from other origami artists. He showed me the same figure, a nursing she-wolf, folded two different ways. The first was folded in what one might call a conventional style, that is, the way every other origami artist in the world would have folded it. It was not terribly complicated. It had all the right “parts” (head, legs, tail, etc.) but no more. And then he showed me the same design, folded his way. It was, indeed, the same basic design, but through a combination of dents, bumps, wrinkles and molding of the paper he had captured the subject fully. I could see not just the features of the animal, I could see its personality as well. He was not just controlling the folds of the paper, he was controlling every aspect of the paper. He was controlling what happened between the folds. As is well known, throughout his life Yoshizawa struggled for support and recognition. By the mid-1990s, though, Yoshizawa’s place in the origami world was well established and he was visibly comfortable being around other folders. He knew he was the ‘elder statesman’ of origami. He did not have to worry about his legacy. And so he relaxed and enjoyed the accolades and invitations that came his way. In 1998, artist Eric Joisel organized what was then the largest international exhibition of origami ever held, in the Carrousel du Louvre, a commercial exhibition space across from the underground entrance of the Louvre proper, and Yoshizawa was one of the honored guests at this exhibition. He was joyous as he walked around the space, and positively sparkled at the attention from origami aficionados spanning multiple generations.

HIS LEGACY AND IMPACT ON ORIGAMI Akira Yoshizawa almost single-handedly defined the 20th-century art of origami, and while his contributions were many, two in particular stand out to me.

Yoshizawa and a young fan.

First, he broke out of the largely static repertoire of traditional designs and established a culture of development of new figures and, with it, the never-ending quest to capture the inner spirit of the subject. This act essentially set the modern art of origami on its present course. Yes, there were others in Japan and elsewhere who sought to create new figures in the early part of the last century. But no one conveyed this approach to the world more effectively, in part, simply due to the value of publicity, but even more, because the works themselves displayed a beauty and life that lifted origami out of the realm of mere playthings and into a true art form. His second, and perhaps more long-lasting contribution, was the code of instruction that he developed—the arrows, dotted and dashed lines that we now take for granted. Again, others had developed ways of expressing origami instruction, but Yoshizawa’s system was so clear and compelling that it and its derivatives have become the standard for the worldwide dissemination of origami. The use of distinct lines for mountain and valley folds— similar to that of Uchiyama—is, perhaps, the most striking element of his system, but I think that something else turned out

to be equally important—the use of distinctive ‘action arrows’ to indicate out-of-plane motion. Prior to Yoshizawa, most origami diagrams were static from step to step. Only with Yoshizawa (and after) do we see the full flow and movement that takes one step to the next, all the way to the finished figure. When I was a young folder, eager to make my mark, FOCA cofounder and origami artist Alice Gray told me about her encounter with Yoshizawa at which he showed her his cicada, and he remarked that it had taken him over 20 years to design! “Hmmph!” I thought. “I don’t need no 20 years to design a cicada!” And I sat down and designed one, which I became very proud of, so proud that I put it in my first book. But after a few years, I began to perceive its flaws: the body wasn’t quite right, the wings weren’t positioned properly, the legs looked too generic. So I set about to design another. “Now,” I thought, “I’ve got it right.” But presently that one, too, began to display weaknesses. And so another. And in a few years more, yet another. None ever hit the mark. In 2003, I attended a Japanese origami convention and during a visit to the city of Shizuoka during the cicada emergence season, I looked closely at the cicadas on the trees all around and realized once again the flaws in all that I had folded before, and set out once more. The result was a figure I titled “Shizuoka Cicada, opus 445.” Finally, I thought, I had nailed it. But, you know, when I looked at a calendar … it had been about 25 years since I first started working on this subject. So I overshot Yoshizawa by a couple of years, and I guess that 23 years is not too long to fold a cicada.

THE MAGIC OF THE CICADA Yoshizawa’s Cicada illustrates yet another remarkable fact about the man. He published many books with hundreds of folding

diagrams, and yet all of his published work only hinted at the sophisticated design techniques that he had developed in isolation, on his own. Today, the origami world has conceptual tools for design, with names like “circle packing,” “tree theory,” “molecules” and more. In the 1940s and 1950s, the most sophisticated concept to arise in the world of origami was the idea of gluing two bird bases together, and perhaps using a few cuts here and there to obtain some extra features. Yoshizawa learned origami within that design culture, but set himself a goal to create the most detailed and realistic forms from a single uncut sheet of paper, and to accomplish this he devised entirely new folded structures that would not be rediscovered by others until decades later. None show these innovations more clearly than his Cicada. Yoshizawa’s Cicada was his pride and joy. Time and again, in interviews over the years, he cited it as his masterpiece. In fact, he completed it in 1959, having worked on it for over 23 years according to a 1970 interview. Now, it is unlikely that he worked on that specific design for that period of time. Rather, it took 23 years to develop the concepts that could be brought together to realize it. Those concepts would include the pattern of folds, the choice of paper and the understanding of how it would respond to manipulations, and the folding skill to persuade the paper to take on the folds specified by the pattern. All of those skills were necessary to realize the artwork, but the artwork began with a folding pattern, and the folding pattern for the Cicada was like nothing that had come before. In the early 1950s, Yoshizawa began corresponding with Gershon Legman, an expatriate American living in France who had developed a passion for origami and its history. It was Legman who brought Yoshizawa to the attention of the world and who

arranged for Yoshizawa’s first international exhibition in 1955. Yoshizawa and Legman developed a deep friendship, expressed through their correspondence, and in 1962, three years after his Cicada milestone, Yoshizawa shared with Legman that which he was so proud of—his Cicada and its construction, via a photograph of the model and its folding plan from his notebook.

Yoshizawa’s Cicada, folded, and the plan from his notebook.

In fact, the notebook contained descriptions of two designs— an adult cicada (above) and a juvenile (nymph, below). Both are folded from a 2 x 1 rectangle and each from the same base, which resembles a tiling of eight Bird Bases, shown here in my transcription of his pattern for the adult. The tiling shows a clear ancestry with one of Yoshizawa’s earlier complex designs, his Crab. The Crab was folded from a “double-blintzed Frog Base,” to use the modern terminology. The base for his Cicada could be thought of as two such double-blintzed Frog Bases attached side by side. Such a pattern, however, demands an entirely different folding approach from the traditional step-by-step designs. With this pattern, one must pre-crease all of the relevant creases, then bring them all together at once in an action now called a “collapse.” Astonishingly, Yoshizawa shared the details of this collapse with Legman in a series of photographs that showed precisely how this base came together.

A key aspect of the collapse was the the ‘tucking underneath’ of a portion of the paper at several places, indicated by the shaded regions on the collapse photographs and highlighted by Yoshizawa in his crease pattern by drawing explicit mountain fold lines—dash-dot-dot—on the otherwise unmarked crease patterns. In the modern era of complex design, “collapses” are ubiquitous. Sixty or more years ago, however, they were all but unknown. The complexity of this base, and the necessity of constructing it via a collapse move, were part of Yoshizawa’s “secret sauce” for creating complex designs. And yes, it was secret. Although he shared the design with Legman (perhaps flush with pride at its recent creation), he never published instructions for this type of work in any of his books (and, indeed, you will not find it or its kin within the present collection). We might well wonder why that was. Could it be that he wished to keep some of his methods a secret? Could it be that he felt that diagrams would not adequately convey what folds would need to be carried out? Perhaps he simply felt that the challenge of creating these folds would be so far beyond the skills of most readers that the diagramming effort would be unjustified. Alas, we will never know. There is no question that further challenges would have awaited anyone who would seek to fold this design. In later years, Yoshizawa shared further details of the artwork, notably in a Kinokuniya-produced documentary, “The Forming Hands, Deity,” portions of which may be seen in the origami documentary “Between the Folds.” The videos revealed that there were tricks in the actual folding—unfolding and refolding of the wing flaps, unfolding revealed by the faint presence of crease lines on the wings, which do double duty as veination and are indicated in his plan by the absence of mountain fold line hints at the far right.

Perhaps more remarkable, in the collapsed base the abdomen flap winds up above the wing flaps. In order to move it to lie below the wings, a maneuver is called for, which in modern parlance we know as a “closed sink,” once again a step that would not find widespread usage within the origami world until years later.

Yoshizawa’s plan for the Cicada.

The collapse of the Cicada base.

Yoshizawa’s Cicada, folded by the master.

Fold angles, collapse notation and base geometry can be conveyed by drawings and plans, but there are many things that cannot be conveyed. The delicate shape of a feature, the reversefolds or crimps of the legs, the hollow rounding that forms the eyes—these are forms that rely upon the subtle interplay between

the fingers and tools of the artist and the mechanical properties of the paper—its tensile behavior, how it accepts a fold and springs back or takes on a plastic deformation. The understanding of this relationship and its relation, in turn, to the vision of the artist is the thing that cannot be fully conveyed in diagrams or even in photographs of the finished work. But diagrams and plans can give a hint, photographs can suggest, and the totality of available information lets us experience, if only slightly, the view and philosophy of Yoshizawa.

The unfolded/ refolded base, showing the closed sink (dotted lines). Reconstruction and drawing by Robert J. Lang.

To Yoshizawa, the life in the folded form was paramount, and that, perhaps, is at the heart of why his work remains relevant and instructive. There was a 30-year period—the 1970s through the 1990s—that might be called the “Golden Age” of technical folding, when origami design tools were developed that allowed the realization of undreamed of forms of complexity. By and large, Yoshizawa remained outside of that development. And the separation was mutual. Within the technical community, the focus on technological development often ignored the development of living form. An origami subject was merely a problem to be solved. But since the turn of the century, there has been a renewed emphasis on the finished form. Technology is back in its proper place as a tool in the service of an artistic goal. Yoshizawa

recognized the priority of the artistic form from the very beginning, and his books, demonstrations and exhibitions have always brought out this philosophy. His work remains an example of breathing life into the paper, as relevant for the bird-base-bird as for the 100-legged centipede or the timeless Cicada. He is now gone, but his work will continue to inspire and educate folders no matter how much or little experience they have. I used to think, somewhat foolishly, that with enough time and experience I could fold like Yoshizawa. Now, I hope that with enough time and experience I will simply be able to fully appreciate his extraordinary work. Robert J. Lang           

A GIFT FROM HEAVEN In 1966, a dinner party was held to celebrate the opening of the Reader’s Digest building in Japan. Many guests from all over the world were invited. On this occasion, Mr Akira Yoshizawa kindly agreed to fold some models of a “Pegasus,” the Reader’s Digest trademark. Origami pegasuses were placed at the center of each of the 17 dining tables. They were folded from variously colored Japanese paper and were so lively they seemed ready to fly high into the sky. All the guests were fascinated by Mr Yoshizawa’s creations. It was through this event that I came to know Mr Yoshizawa and learn more about him. His outstanding ability at paperfolding, his strikingly beautiful works, his irrepressible enthusiasm and sincerity for creative origami as well as his peace-loving personality had to be introduced to Digest readers, I believed. Mr Yoshizawa became interested in origami at the age of four. Brought up in hardship, he nonetheless kept studying and folding paper. He loved nature and observed and studied the movements, skeletal structure and internal organs of live animals. His interest extended to all living creatures on earth. He absorbed and digested all that he studied, then started folding paper with his fingers. He ended up by breathing life into each model with a prayer. He watched and touched his object with utmost care as it changed into a lively creature. Before computers came into being, he drew detailed diagrams with his own hands and was able to simplify diagrams so that anyone could follow them and fold paper. He understood

engineering and was blessed with the ability to pursue artistic beauty. He was a man of insight and vision. It was in 1969 that Mr L. Stowe, the Digest’s roving editor and a Pulitzer Prize winner, came to Japan and met Mr Yoshizawa. Stowe was deeply impressed and wrote “The Paper Magic of Origami,” thereby introducing Mr Yoshizawa. The article was translated into 13 languages and distributed around the world in 1970. In 2003, Mr Yoshizawa informed me that he had found the models he had made for his 1955 exhibition in Holland and which had long been thought lost. It was well known that he had been searching for these models for years. They were returned safely to him in 2004 with the cooperation of Mr D. Lister and Mr D. Brill of the British Origami Society. When Mr Yoshizawa opened the box and saw “his beloved children,” he took them out lovingly, one by one, looking so happy that he beamed with joy. Utsukushii Origami was translated into French and Italian. The beautiful world of Akira Yoshizawa will bring joy and relay heartfelt warmth to all who see his works. He was bound to paperfolding and devoted his entire life to creative origami. He was truly a gift from heaven. Deep gratitude is also owed to Mrs Kiyo Yoshizawa, who stayed beside him and always lent him her support. BY HIROKO ICHIYAMA Former assistant to the Editor-in-Chief of Reader’s Digest in Japan and translator of Origami Museum.

AKIRA YOSH IZAWA BIOGRAPHY 1911 Born in Kaminokawa, Tochigi province, in central Japan. Nurtures a great passion for origami even as a child. 1926 age 15 Receives a degree from the Taimei Technical Institute in Tokyo. 1938 age 27 Begins studying origami on a regular basis while working in an engineering factory. 1950 age 39 Holds a course in creative educational origami for teachers at the request of the Teachers Association of Tochigi province. 1954 age 43 Participates in the seminar “The Arts and Crafts in General Education and Community Life” organized by UNESCO in Tokyo. Publishes Atarashii origami geijutsu [New Origami Art]. Establishes the International Origami Center while actively devoting himself to disseminating the art of origami in Japan and abroad and promoting exchange among aficionados. 1955 age 44 His one-man show at Amsterdam’s Stedelijk Museum catches the attention of the entire world through the novelty of his creative approach. From now on, he is often the leading figure in exhibitions, both at home and abroad. 1957 age 46 Publishes Origami dokuhon [Origami Reader]. Describes his method for the “One thousand origami cranes” (Senbazuru origami) in a text that receives wide recognition. 1959 age 48 Holds an exhibition at the Cooper Union Museum in New York. Thanks to this exhibition, which traveled to various states within the US, Yoshihara’s knowledge of origami is disseminated.

1963 age 52 Publishes Tanoshii origami [Joyful Origami] for which he is awarded the Mainichi Prize for Culture. 1964 age 53 Discovers the original manuscript of the long sought-after ancient origami text Naniyaragusa (a title based on a reading of the Japanese ideograms although various encyclopaedias refer to it as Kayaragusa) for the Osaka research department of the Asahi shinbun newspaper. 1966 age 55 Is invited by the Japanese Ministry of Culture to teach origami in Oceania and eight European countries, including, in 1968, Italy and Switzerland. 1971 age 60 Receives the ExxonMobil Children’s Culture Award. 1972 age 61 At the request of the Japan Foundation, visits and holds conferences as well as exhibitions of his works in Europe and dozens of other countries around the world. 1974 age 63 Publishes Utsukushii Origami [Beautiful Origami]. 1983 age 72 Is conferred the Order of the Rising Sun (5th Class) by the Japanese government in the name of the Emperor for his contribution to the spread of Japanese culture through origami. 1984 age 73 Publishes Sōsaku origami [Creative Origami] with the Nippon hōsō shuppan kyōkai newspaper. Holds the exhibition “Japanese Origami” sponsored by the Asahi shinbun newspaper at l’Espace Cardin in Paris. Is invited to participate in the “Phenomena” show in Zurich, Switzerland. The Parisian exhibition, once again sponsored by the Asahi shinbun newspaper, moves to Tokyo, where it is hosted by the Matsuya Ginza department store under the title “Creative Origami.” 1986 age 75 Receives the Ministry of Foreign Affairs Prize for his work promoting knowledge of Japanese culture through origami.

1987 age 76 Works actively in Hangzhou, China, on spreading the art of creative origami. Holds an exhibition in Italy at the invitation of the municipality of Milan, and a one-man show and conference at the Japanese Institute of Culture in Rome. 1989 age 78 Participates in an exhibition and conference entitled “Origami from all over the world” in Peru. 1990 age 79 Holds a conference on “Creative Origami” at the Matsuya Ginza department store in Tokyo.

Origami crabs displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

1991 age 80 Holds an exhibition entitled “Origami Art: Masks” in Tokyo. 1992 age 81 Is commissioned by the Japanese government to make an origami set “Four Seasons in Japan” for the Japanese pavilion at the Seville Expo in Spain, simultaneously exhibited at the International Exposition in Genoa. 1993 age 82 Is invited to the music festival of the people of Paris and St. Florentine, France, where he holds a special exhibition. 1994 age 83 Participates in two exhibitions in conjunction with a conference in the United States.

1995 age 84 Holds a show in the exhibition space inside Yūrindō, a large bookstore in Yokohama. Along with other members of the Nippon (Japan) Origami Association, celebrates the 40th anniversary of the International Origami Center with a group show at the Nerima Art Museum in Tokyo. Participates in three exhibitions and a conference in Germany. 1996 age 85 Publishes Inochi yutaka no origami: sosaku origami sakuhinshu [Origami Full of Life: A Collection of Creative Origami]. Holds exhibitions and conferences until 1998 in various cities, including at the British Origami Society in England, at the Mouvement Français des Plieurs de Papier in Paris, and in Germany, Spain and the United States. 1999 age 88 To celebrate his 88th birthday, a special exhibition is sponsored by the Asahi shinbun newspaper at the Matsuya Ginza department store in Sapporo, at the Marui Imai store in Kyoto, and at the Takashimaya and Maruhiro stores in Kawagoe, Saitama province. 2000 age 89 Is sent by the Japan Foundation to Oman where he holds an exhibition, conferences and demonstrations. Tokyo’s Paper Museum hosts “The Creative Origami of Akira Yoshizawa” to celebrate the 50th anniversary of the Japan Foundation. 2001 age 90 Participates in the exhibition “On Paper, New Paper Art” in London. “The Creative Origami of Akira Yoshizawa” moves to the Ikeda Public Museum of Art, Nagano province. 2002 age 91 The exhibition “Akira Yoshizawa: The World of Creative Origami” opens at the Sano Art Museum in Mishima, Shizuoka province. 2003 age 92 The Yūrindō bookstore in Yokohama opens Yoshizawa’s 10th exhibition. “The Creative Origami of Akira Yoshizawa” exhibition is hosted in Tochigi province, Yoshizawa’s birthplace. The Mingei International Museum of San Diego invites him to participate in the exhibition “Origami Masterworks.”

2004 age 93 Long-lost works displayed at his one-man show at Amsterdam’s Stedelijk Museum in 1955 are recovered by various means. 2005 age 94 Yoshizawa dies on March 14th. His works occupy a place of honor in the exhibition “Masters of Origami” held in Salzburg, Austria. The Paper Museum in Tokyo hosts the exhibition “The Rediscovered Origami: The Work of Akira Yoshizawa from Its Beginnings until Today.” 2006 An exhibition is held in the exhibition space inside Yūrindō in Yokohama. 2008 The exhibition “The Origami of Akira Yoshizawa” is held at the exhibition space of Itoya in Ginza, Tokyo. The exhibition “Akira Yoshizawa: The World of Creative Origami” returns to the Sano Art Museum. An exhibition also takes place in Tamozawa Goyōtei Hall in Tochigi province. 2010 An exhibition bringing together a hundred of the Master’s works is held in his birthplace, Kaminokawa, Tochigi province. 2011 The exhibition “Beestenboel” is held at SieboldHuis, Leiden, the Netherlands, on the 100th anniversary of Yoshizawa’s birth. Included among the celebrations in honor of his centenary is an exhibition of donated works held in Kaminokawa, Tochigi province, and a commemorative exhibition at the Paper Museum in Tokyo. 2013 The exhibition two years prior, “Creative Origami: Akira Yoshizawa’s Works of Art,” continues to be on display at the Paper Museum, which also receives the works—examined and restored on that occasion—from “The Rediscovered Origami” exhibition of 2005. 2014 The exhibition “The Creative Origami of Akira Yoshizawa” is hosted by the Escuela Museo Origami Zaragoza in Zaragoza, Spain. The exhibition “Akira Yoshizawa: The World of Creative Origami” is again held at the Sano Art Museum in Mishima.

Akira and Kiyo Yoshizawa during a trip to Oceania, where the artist was sent by the Japanese Ministry of Foreign Affairs in 1966.

The Master at the Institute of Japanese Culture in Rome, October 3rd, 1987.

Yoshizawa at home in the early 1980s.

The artist in Spain in the late 1990s.

Akira Yoshizawa in Tokyo in 1990.

Special edition of the Japanese journal Fooga ( フ ー ガ ), dedicated to Akira Yoshizawa and the world of origami, January 2004.

Cover of Atarashii origami geijutsu: Sakuhin to orikata dai isshu [New Origami Art: Works and Folding Techniques, vol. 1], Origami geijutsusha, 1954.

Cover of Sosaku origami [Creative Origami], Nippon hoso kyokai, 1984.

Cover of Origami dokuhon [Origami Reader], Ryokuchisha, 1957.

Cover of Origami dokuhon II [Origami Anthology, vol. 2), Nyusaiensusha, 1998.

Cover of Origami ehon [Origami Picture Book], Kamakura shobo, 1978.

Cover of Yoshizawa Akira no tanoshii origami [The Joy of Akira Yoshizawa’s Origami], also known as the “Koala Book,” Shufunotomo, 1985.

Poster for an exhibition of Yoshizawa’s creative origami held in his birthplace, Kaminokawa, Tochigi, fall 2003.

Poster for a retrospective exhibit devoted to the Master by the Paper Museum, Tokyo, September– November 2005.

Poster for another exhibition of Yoshizawa’s creative origami organized by the Paper Museum, Tokyo, spring 2013.

Poster for the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, July–September 2014.

An origami pelican displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

PART ONE

CREATIVE ORIGAMI The Beauty of Origami Art

A rabbit foraging for food in a snowy landscape. The little creature is caught tense and motionless at the moment when, sensing danger, it is about to hop away.

A NOTE FROM THE AUTHOR The origami pieces collated here were mostly created for a work that was published in monthly installments between 1954 and 1963. It was a work that marked a turning point in the history of this ancient Japanese art, opening as it did hitherto unimaginable horizons in the origami tradition. Unpublished models developed at a later stage from a combination of study and creation were added to the original selection from the monthly installments. Over the years, I had received many requests from fans to bring together the most significant of my creations in one volume. I thus spent long hours reviewing all that I had ever produced in order to select from various sources those origami that to me seemed to speak to the heart with the greatest immediacy, that awakened feelings and emotions. The creation of a piece of origami requires time. It may take as long as two or three years for a new model to take shape. In one instance, it took me no less than 23 years to develop a model, from the initial inspiration to the full development of the system of folds. Every single creation is the fruit of long and exhausting labor. It emerges from a series of variations created around the same theme until it expresses its own clearly perceptible character in every detail. The symbols that I introduced to fold notation have been widely circulated and are now used in Japan and the rest of the world. Illustrations are of as great an importance to origami as a score is to the performance of a piece of music. It is possible to either provide highly rigorous and detailed instructions or to grant greater licence to individual expression. Each step can be

developed in different directions allowing everyone to express their own sensibility when constructing a unique piece of origami. I have dedicated my entire life to the study of origami, something that initially seemed impossible and incomprehensible. I thus feel that I owe profound thanks to all those in publishing and in the media in general who have understood and supported my efforts.

Akira Yoshizawa, August 1974

An origami baby elephant displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

THE FRONTIERS OF ORIGAMI The beauty of origami arises from the way in which lines and surfaces are folded and shaped on paper. The challenge is to use a single sheet of paper, play around with its color or its various shades without applying any color at the end or cutting the paper or adding parts. The sheet can be in the shape of an equilateral, right-angled or scalene triangle or a square, rectangle, rhombus, irregular quadrilateral or trapezoid. In short, any kind of polygon, from a triangle to a hexadecagon, is fine, although a circle or oval can work equally well. As for size, we generally keep to the standard square sheet, which is the easiest to use, though in certain cases models may require sheets ranging from a few millimeters square to ones that are about 5 meters square. The thickness of the paper is proportional to its size.

COMPOSITE ORIGAMI Composite forms are those in which two or more sheets are used, each folded separately until they reach a specific shape before they are joined to others to form a unique model. Once they are glued or combined together, the initially autonomous figures create a sort of mosaic or composite origami.

Two origami bison displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

THE ACT OF CREATION What makes origami a work of art is the creation of a threedimensional form. The pleasure of creation lies entirely in folding and refolding a simple two-dimensional sheet of paper in order to express a lyrical beauty through a volume of voids and masses in which all the parts are carefully balanced. It is important to take as much time as necessary to develop a project, choosing a theme that may consist of a figurative or abstract form, and selecting paper of a quality and color that is appropriate (and usually recommended in the instructions). It does not matter whether the chosen theme belongs to the natural or spiritual world. The main thing is to take the immense beauty emanating from the teeming natural world around us and to fix it, in a kind of freeze-frame, in a creation made out of paper. This requires extraordinary technique, one that is capable of isolating a form, a movement, the essence of an object and which, in the case of a living creature, is able to express the characteristics of its skeleton and bearing and present all these things simultaneously. This book will help you understand the difference between creative origami and the simple act of folding a piece of paper to obtain a form. If you are interested in creative origami, you will need to learn the various methods of folding and to fully master them.

An origami elephant displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

Elves in a forest

A GUIDE TO ORIGAMI FOLDING SYMBOLS

HOW TO MAKE AN INSIDE REVERSE FOLD Valley fold F is often omitted as it consists of taking an already existing

fold and folding it in the opposite direction.

This fold is used for bird breasts and animal joints. Hold the model down at the point labeled A and press in with your thumb, making sure not to flatten the fold at the point labeled ○, then make a crimp fold on a diagonal by pulling C. In a sequence of folds, this symbol

indicates the end result.

The right and left sides of the sheet of paper are not indicated in the figures, but usually the right side is the one that remains on the outside after the first set of folds. When two strips are superimposed, the symbol is placed only on the top one. When it is necessary to repeat certain steps, these will be omitted. When a drawing suffices to make something comprehensible, any other form of explanation is omitted. Corners and surfaces are labeled A, B, C, symbols that are more suitable.

, or, occasionally, with

When corners overlap in a fold, a small portion of the one at the bottom remains visible.

PREPARING THE FOLDING SHEET

Making an equilateral triangle and rhombus from a square sheet

 2’

is made simply by cutting  2  along line 1.

Making an equilateral triangle and rhombus from a rectangular sheet (For the hexagon, see page 82.)

Making a pentagon from a square sheet

Cut into a right angle and open.

THE BASE FOLDS In order to bring out the innate beauty of nature using the surface of a sheet of paper, to express the spirit that inhabits the forms existing in our world, requires dividing and subdividing this surface countless times and generating a precise number of angles by means of a series of folds from which the piece will finally emerge. The final result will thus depend in large part on your journey through the figures and folds. Examine the base folds illustrated on pages 40–3. Folds (A) and (B), for example, are extensively used to construct the socalled ‘square base’ from squares and rhombi to generate acute angles in order to create the heads, tails and legs of small birds or fish fins, as on angel fish. Folds (C) and (d) can be used to create the same figures as those made by (A) and (B) but from a triangle. If applied to every corner, the folds can lead to the creation of such models as the cricket, dragonfly and shrimp. In addition to these are the folds on page 142 that can be used to craft an aeroplane from a triangular sheet of paper, for example, or the ones on page 82 that can generate an iris from a hexagon. We have not illustrated those used with the pentagon, rectangle and other paper shapes. BASE FOLD (A)

Fold a square sheet of paper along the diagonal, then fold it again, drawing A over B.   1 

 2 

Unfold A, making it correspond with C and d.

 3 

repeat the same step on the rear with B.

 4 

Make folds 1, 2 and 3 in that order.

 5 

Unfold and pull in the direction of the arrow.

 6 

repeat the same steps on the rear with B.

 7 

Here is the basic form (A).

SMAll BIRDS Steps on pages 94–5.

Fish, birds, sea turtle, various mammals, masks, etc. BASE FOLD (B)

Fold a rhomboid sheet along diagonal AB, then fold again, drawing A over B.   1 

 2 

Unfold A, making the angle correspond to the median fold.

 3 

repeat the same step on the rear with B.

 4 

Make folds 1, 2 and 3 in that order.

 5 

Unfold A, lifting it up.

 6 

repeat the same steps on the rear with B.

 7 

Here is the basic form (B).

TWO TYPES OF FISH Steps on pages 108–9.

Insects, fish, masks, whale, etc. BASE FOLD (C)

Take a sheet in the form of a right-angle triangle and fold it as in then, making another valley fold, align its free edges.  2 

Unfold A to draw it over the median fold.

 3 

repeat the same step on the rear with B.

 4 

Make the folds in  4  .

  1  ,

 5 

Open A by lifting it up.

 6 

repeat the same steps on the rear with B.

 7 

The basic form (C).

GRASSHOPPERS Steps on pages 100–1.

Birds, insects, glider, flowers, etc. BASE FOLD (D)

Take a sheet in the form of an equilateral triangle and fold it as in then, making another valley fold, align its free edges.

  1  ,

 2 

Unfold A to draw it over the median fold.

 3 

repeat the same step on the rear with B, aligning corners B, C and d.

 4 

Make the folds in  4  and

 5  .  6 

repeat the same steps on the rear with B.

 7 

The basic form (d).

DRAGONFLY Steps on pages 96–7.

Birds, insects, glider, helicopter, etc.

THE GLIDER This glider typically flies slowly, wafting in the air. If the sheet is the thickness of an ordinary piece of copy paper, it is best to use a 6 x 6 in (15 x 15 cm) square, but if the thickness is altered the dimensions can be changed accordingly.

グライダー

INSTRUCTIONS Take a square sheet of paper and, starting at the top, fold an eighth of the sheet twice.  1 

Flatten out the rolled up section by passing your finger over it, then make folds in the direction of the arrows.   2 

Press hard with your thumbnail on the already existent mountain fold, then fold its corner down.  3 

Fold the sheet in half, making a mountain fold along the crease of the median fold, slightly pressing on the spine while taking care not to crush the little triangle on top.  4 

 5 

Make a valley fold with C in the direction indicated by the arrow.

Fold side B. (If, in figure 5, you slightly push the little triangle on top to the left in such a way as to make it jut out further, the model will fly better.)  6 

Here is the finished model. To make it fly, lift it at the point marked ○ in  5  and release it gently into the air.  7 

THE FLYING CARPET Here is the flying carpet of fairy tales, which can also be made from a square sheet of paper.

魔 法のじゅうたん

While the glider can be flown outdoors, the flying carpet requires an enclosed space, or at least one where there is no wind. INSTRUCTIONS Take a square sheet of paper and, beginning with the top, fold an eighth of the sheet. repeat four times.   1 

 2 

Pull B back from the crease made by the fold along the median.

Make valley folds with B and C, opening them in the direction indicated by the arrows.  3 

Once you have gotten model  4  , lift it at the point labeled ○ in it a slight thrust and release. do not use too much force.

 3  ,

give

Note: the characteristic feature of this origami is its perfect balance, which allows it to remain suspended in the air for a long time. once you have folded the sheet, getting as far as figure 2, you can introduce variations of any kind you like to obtain figures イ, ロ, ハ and ニ. The glider will also fly smoothly if made from a rectangular sheet, as in version ホ . In this case, the length of the sheet will be twice its width, but a well-constructed model in light paper can also work with a sheet three times its width. (experiments have shown that the model can fly even if constructed from a sheet of paper 20 times its width.)

HOUSES AMONG TREES Using different colored paper, you can construct houses and trees to form an entire neighborhood or village. The final result will depend on how you combine the various elements together.

おうちと木

INSTRUCTIONS FOR THE HOUSES (イ) Fold a square sheet of paper in half horizontally, then stand it up. (ロ) Complete this house, proceeding as in figures  1  and  2  . (ハ) This version can be made by folding the corners of the roof of (ロ). ( ニ ) Take a square sheet and proceed as in figures folding it so that it stands up.

  1  ,   2 

and

  3  ,

finally

( ホ ) A variant is obtained from ( ニ ) by folding the corners of the roof inwards as in (ハ). If one of these models is made larger and another model is made smaller, such as ( ホ ) or ( ニ ), then a two-story building can be created by stacking them.

THE TREES (A)

THE TREES (B)

THE TREES (C)

THE TREES (D)

INSTRUCTIONS FOR THE TREES (A) Take a square sheet and fold it along the diagonal, then complete the model by folding the bottom corner back. (B) This model can be made from model (A) simply by folding back a tiny bit of the corner at the top as well as the left and right. (C) After folding a square sheet along the diagonal, make folds 1, 2 and 3 in that order. (D) Fold a square sheet as in figures   1  ,   2  and   3  , then fold only the bottom part of the model in the direction of the arrow of   4  without smoothing out the fold, as shown in figure   5  . Finally, pressing down on

the point labeled ○ , open gently and pull towards the dotted line. Complete by folding the right side in the same manner. You can use paper that is colored on only one side, or you can insert paper of a different color for the trunk. Note: By using paper that has been crumpled then smoothened out you can obtain the effect of leafy foliage. Have fun imagining and composing a landscape by placing trees of a brighter green in the foreground and using paler shades for those in the distance.

BUTTERFLIES OF EVERY KIND ちょうのいろいろ

INSTRUCTIONS

Butterfly (一)  1  Fold a square in half horizontally, then draw B to A.  2 

Fold B in the direction of the arrow.

Make a mountain fold with A, making sure that the fold coincides with the one already made, as in figures  2  and  3  , so as to obtain figure  4  .  3 

Here is the finished butterfly. Now gently press with your finger as shown in the figure, then release. The wings will move.   5 

With an increase in the difference between the folds made in steps  2  and  3  and the median fold, the butterfly’s body will end up larger.

Butterfly ( 二 )   1  Fold a square sheet along the diagonal. Now the procedure will be similar to that followed in model ( 一 ). This time, however, in order to obtain model  2  , you will need to make sure that the two folds between the body and the wings are parallel with the median fold. For a child, a corner that is too sharp may be a hazard and cause pain on contact. For this reason, leave the folds that form the butterfly’s body a bit open and fold the ends of the wings inwards.

Butterfly ( 三 ) Fold a square sheet along the diagonal and pull the two superimposed flaps back as in   1  . By folding along the creases made by the mountain and valley folds, as in  2  , you will end up with figure  3  .

Butterfly ( 四 ) Stretch the model ( 三 ) as in figure   3  , then making a valley and a mountain fold do a crimp fold in order to obtain the front and rear wings. Close the mountain and valley folds (the ones made first) once again in order to end up with model  5  .  4 

Butterfly ( 五 ) Fold a square sheet horizontally   1  , then fold the bottom left and right corners symmetrically inwards. From this point on, follow the steps for model (四) in order to end up with the butterfly  4  .

Butterfly ( 六 ) After folding the sheet along the vertical diagonal, match up the top and bottom corners, then fold backwards a bit over the horizontal diagonal. Fold the bottom corner back as well, Finally, proceed as in variant (四) in order to end up with  3  . In this model, the lightness of the butterfly’s wings are a notable feature.

Butterfly (七) Fold a square sheet diagonally as shown in figure make the valley and mountain folds needed to obtain model  2  .

 1  ,

then

Butterfly ( 八 ) Open up the model of variant ( 七 ) and proceed as in figures  2  and  3  of variant (四) in order to end up with the butterfly  4  . If the intersection between the horizontal and diagonal folds lies at the exact center of the sheet, then the left and right wings will overlap perfectly, but such precise correspondence is not very important to children. Let them enjoy the freedom of creating imperfect origami.

In the original black-and-white photo here, all the butterflies have been constructed according to the same procedure using triangular, rhomboid, square, rectangular, pentagonal, hexagonal, circular and oval sheets of paper, with parallel or radial folds.

An origami butterfly displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014.

Butterfly (九) Take a square sheet of paper and make the mountain and valley folds indicated in order to obtain figure  2  .   1 

 2 

Fold C and D downwards in the direction indicated by the arrows.

 3 

Flip over to the other side.

 3’

Make a valley fold, pulling it upwards.

Fold D and C downward in the direction of the arrows, pressing down and flattening out the triangular pockets that form on the left and right.   4 

 5 

Shape the head by making a crimp in E.

 6 

Fold in half along the vertical axis.

 7 

Making a valley fold, shape the body and two wings.

 8 

The finished butterfly.

SNAIL ON A LEAF かたつむり

THE LEAF

INSTRUCTIONS FOR THE lEAF For this model, use bright green paper to make a nice contrast with the color of the snail’s shell. Take a square sheet and after folding it as shown in figure  1  fold it again in the direction of the arrows.  2 

Now fold it in half.

Starting from the top, first make a valley then a mountain fold along the entire length to create an oblique wave. do it in such a way that the width of the folds gradually becomes smaller towards both the top and bottom.   3 

 4 

Now unfold the sheet gently without wrinkling it.

Making sure not to crush the paper, use two fingers to twist one end to form a stalk, then shape the paper to resemble an actual leaf.  5 

THE SNAIL

You can vary the form by making the neck thinner. By elongating it and setting it in a horizontal position, you will end up with a snail that is exerting force to pull its little house. If you pull the neck up, you will get a snail that is catching its breath after exerting itself. INSTRUCTIONS FOR THE SNAIl Use a square sheet that is white on one side. Fold the sheet along the diagonal, unfold it, then fold it along the opposite diagonal without smoothing out the fold. Now, taking the intersection at the center as your point of reference, make the folds indicated in figure  1  , then fold in half again.  2 

Fold approximately ¼ way from the middle.

 3 

Open the pocket on top.

 4 

Fold in the direction of the arrows.  5  Flip the sheet over.

 5’

Open the pocket on top.

Fold in the direction of the arrows.   7  After making a crimp fold with corner E, fold B to the front and D to the back.   6 

Fold F within the dotted line, drawing it upwards between A and d. repeat the same step with E, drawing it between B and C.   8 

Fold F back from the dotted line. the outside and inflate the shell.  9 

 11 

The finished snail.

 10 

Fold a small portion of F towards

FAIRY TALE CROWNS AND CAPS かんむりとぼうし Let’s make fairy tale headpieces. If you make them the right size, you can actually wear them!

The photo on this page shows two head pieces: a wolf (above) and a badger (below). Note: If using a lightweight paper, after completing and folding the crown or headdress, reinforce the borders by lining them on the inside with another type of paper. In the rabbit and snail headpiece, try to make the central core as low as possible. INSTRUCTIONS

Try to imagine the features of an animal. The head is the part where the animal’s characteristics are most obvious. By making an origami and wearing it as a headpiece you will look a bit like that animal. Carefully observe what you would like to make, then begin. After learning the folding techniques illustrated in this section, you will be able to experiment to make all sorts of headpieces. INSTRUCTIONS FOR RABBIT EARS After refolding the base upwards, as in figure  1  , do steps 1 and 2 in that order.  2 

Fold upwards.

 3 

Fold C and tuck it inside.

raise A and B, then shape the headpiece by expanding it from the inside and pressing down on it from above in order to obtain  5  .   4 

For a child of five or six, the princess’s crown as well as the headpieces of the gnome and wizard require a 30 x 30 in (75 x 75 cm) sheet, those of the rabbit and snail an 31.5 x 31.5 in (80 x 80 cm) sheet, and the prince’s crown a 24 x 24 in (60 x 60 cm) sheet. In the case of the prince’s crown, the size may be adjusted to the head by increasing or reducing the width of the lateral folds in figure  2  . If, on the other hand, you use 3 x 3 in (8 x 8 cm) sheets, you can use them for finger puppets. INSTRUCTIONS FOR WIZARD’S CAP Follow instructions for the gnome’s cap as far as step half.  3 

 4 

  3  ,

then fold in

Fold C in the direction of the arrow.

Pull towards the dotted line, then fold the peak by reversing it on the exterior so as to end up with  6  .  5 

INSTRUCTIONS FOR SQUIRREL EARS

Fold the ears of the rabbit as in figures イand ロ , then shape them by pinching them at the bottom with your fingers in order to obtain  6  . RABBIT EARS

SQUIRREL EARS

WIZARD’S CAP

Starting from figure 3 of the gnome’s cap on page 60.

PRINCE’S CROWN

INSTRUCTIONS FOR PrINCE’S CROWN Take a square sheet and make the indicated folds from figures that order.  6 

 1 

to

  6 

in

Fold B to the back, making folds 1, 2 and 3 in that order.

Unfold at the bottom in the direction of the arrows, then shape by pressing the upper part in the direction of the arrows so as to end up with   7 

 8  . GNOME’S CAP

INSTRUCTIONS FOR GNOME’S CAP Take a square sheet of paper and fold it along the diagonal, then make folds 1 and 2 in that order.  1 

 2 

Flip the sheet over.

Insert A and B into the pocket that has formed itself, then twist the peak lightly to obtain  4  .  2’  3 

PRINCESS’S CROWN

Starting from figure 2 of the gnome’s cap above.

INSTRUCTIONS FOR PrINCESS’S CrOWN

Follow the instructions for the gnome’s cap as far as step  2  , then make a crimp fold from a mountain and a valley fold.  2 

 3 

lift A and B.

After making slight mountain folds with A, B and C by pinching them between two fingers, unfold them in the direction of the arrow. Shape them by lightly pressing them on the back in the direction of the arrow, as in  4’ , in order to end up with  5  .   4 

TIGER CUB とらの子 The tiger cub assumes different expressions based on the position of his head. He is made from two square sheets of paper—the head from one and the body from the other—and is then assembled.

THE BODY

INSTRUCTIONS FOR THE BODY Take a square sheet of paper and fold it as in figure  1  , then again in the direction of the arrows.  2 

Fold A towards the bottom.

Fold C and d, tucking them between A and B as indicated by the dotted lines.  3 

 4 

Unfold C and D and, reversing them, draw them over the dotted lines.

 5 

Unfold the upper side of d. Fold as in figures

 6 

and  7  to form a thin tail as in  8  . Pull  8  as in figure  9  .

Make a valley and a mountain fold inwards on each side, modeling the body to expand it as shown in  10  .  9 

Assemble  8  and  10  by attaching the head to extremity C of the body at the point folded backwards in  7  . THE HEAD

INSTRUCTIONS FOR THE HEAD Take a square sheet and fold it as in figure  1  , then fold it in half. Make a mountain and a valley fold on both sides, reversing the folds two or three times without smoothing them out too much.   2 

 3  3’

Flip the sheet over.

Make folds 1 and 2 in that order, folding D downwards.

 4 

lift up C.

 5 

Flip the sheet over.

5’

Fold A and B.

 6 

Unfold A and B.

Make mountain folds 1 and 2 in that order, folding towards the back, then unfold A and B so that they assume the shape of ears.   7 

Fold C inwards, then insert a finger inside the nose and push it outwards in the direction of the arrows to expand the head.   8 

TENGU MASKS てんぐ let’s make masks of the Tengu and Crow-billed Tengu, two goblins (small magic creatures) of Japanese folklore. TENGU MASK

The Tengu is a goblin in popular Japanese folklore, halfway between a human and a bird.

INSTRUCTIONS FOR THE TENGU MASK Take a square sheet of paper and fold it along the diagonal, then fold it again as in figure  1  , and finally fold C and D.  2 

After folding a small portion of corners C and D inwards, cover with A.

Fold E and F backwards, then make mountain and valley folds, making a crimp fold in B.  3 

Fold in half along the vertical axis. arrow to obtain  6  .   4 

 7 

  5 

Lift B in the direction of the

The finished mask.

This Tengu mask is best if you use a sheet that is red on one side and white on the other. Insert gilt paper over the triangles of the eyes for a better overall effect. The size of the eyes and nose can be varied according to preference. CROW-BILLED TENGU MASK

INSTRUCTIONS FOR THE CrOW-BIllEd TENGU MASk Take a square sheet of paper and make the folds in figures that order.

  1 

and

 3 

Fold E and F towards the bottom.

 4 

Make a crimp fold with G, then fold E and F.  5  Fold A upwards.

 6 

Fold A and B only on the mountain part side in order to obtain  7  .

  2 

in

After making mountain folds with A and B, make them in the opposite direction, as in  6  and  7  .  8 

Fold to taper A and B, then fold in half towards the rear, in the direction of the arrow. Shape the beak and eyes by doing steps   10  ,   11  and  12  in that order.   9 

Now the mask is finished  13  . By holding its cheeks, you can make it open and shut its beak.

GOLDFISH MOBILE きんぎょ The allure of these suspended mobiles is in the harmonious rhythm of space that is achieved through a careful play of form and movement.

Here a string is tied to some thin rods in order to reproduce the gentle fluttering of goldfish. The rods are staggered at different heights, creating the effect of a little family darting here and there. There is no

need for a lot of fish. In fact, the mobile can be simplified by using only two or three fish (see pages 175–5).

INSTRUCTIONS FOR THE GOLDFISH Fold a square sheet of paper as indicated by the dotted line, folding C and D just short of diagonal AB, then also fold E and F, and finally A towards the rear.  1 

 2 

Pull out C and d, lifting them as far as the dotted line.

 3 

Make a crimp fold in both C and d.

After folding C and D inwards, in the direction of the arrows, make a valley fold.   4 

 5 

Fold the sheet in half.

Fold G and H inwards starting from the line of the mountain fold, then fold C and d.  6 

Pick up G and H with two fingers and turn them inwards in such a way as to obtain  8  .  7 

 9 

keeping A on top of B, fold inwards.

 10 

Invert A and B from the dotted line.

 11 

Fold inwards in the direction of the arrows.

 12 

Invert only A downwards from the dotted line.

 13 

Fold B.

Fold the mouth inwards and the pectoral fins in the direction shown by the arrows, then open B from the line of the valley fold, bringing it over A. Mold everything to end up with  15  .  14 

INSTRUCTIONS FOR THE SEAWEEd  1 

Fold a thin strip of paper along its vertical axis.

 2 

Make a series of irregular crimp folds along its length.

ASSEMBlING THE MOBIlE After hanging fish イ and ロ and the seaweed from shaft (1), find the center of mass (C), making sure that the two ends are balanced, and attach the string there. Now, starting from the bottom, suspend 2, 3, 4 and 5 in that order, each time at the center of the mass. Fish イand ヘ are made in the same way as the carp on page 79, with a few modifications. Model ホ is very easy to make because it does not have pectoral fins.

To ensure that the mobile is perfectly balanced, add a small weight to fish ヘ.

FLOWER BASKET 花かご

INSTRUCTIONS FOR THE FlOWErS Take a square sheet of paper printed on one side. keeping the white side on top, make mountain and valley folds as in figure   1  to obtain the square base (with the color on the interior) of figure  2  .  2 

Fold F and G towards the front and E and H towards the back.

 3 

Invert F and H, opening them in the direction of the arrows.

Make a mountain and a valley fold, executing the valley fold as in and folding it inwards as in  6  .   4 

  5 

Holding the model in the place marked x, insert a finger in the direction of the arrow and gently prise it open, raising only the upper edge. The flower’s corolla will open completely, as in  7  .   6 

By using a smaller sheet of paper of a different color and folding it as indicated up to   2  , you will get a pistil that you can insert in the center of the flower in step  2  . Then complete the remaining steps.

THE LEAF

INSTRUCTIONS FOR THE lEAVES Use a square sheet of leaf green paper and fold it as in figures Combine different leaves.

 1 

and

 2  .

The sides of the sheets used for the flowers and leaves must be about one quarter the size of those of the sheet used for the basket. Note: this flower model is usually made with pentagonal or hexagonal sheets. All flower origami require a basic step in which one part of the sheet is squeezed while the other opens out. (See the flower basket photo opposite.)

INSTRUCTIONS FOR THE BASKET Take a square sheet of paper and fold it as in figure  1  , then fold it again in the direction of the arrows.  2 

Fold D back.

 3 

Fold A and B, lifting them between B and C.

 4 

Unfold A and B in the direction of the arrows.

 5 

After folding the corner of A, wrap A and B’s sides in on themselves.

reverse C and D without smoothing out the folds, bringing the inside to the outside.  6 

After inserting B into A as in figures  8  and  9  , smooth out the fold in such a way that the two ends do not come undone. Pinch corners E and F as in figure   10  , modeling them as in   11  so that they rest firmly on the surface.  7 

 12 

The finished basket.

If you find it too difficult to invert the basket as shown in figure  6  you can simply expand it without inverting it, then join A and B. In

the photo, the basket’s handle has been shaped to make it thinner at the top.

EMPEROR AND EMPRESS DOLLS 内裏雛 In Japan, various kinds of paper dolls have been created from time immemorial, evolving from early depictions of the human figures used in religious rites. first dolls were generally made from silhouettes cut out of paper and glued together. However, I wanted to create original and refined origami dolls in which the head was made without cutting the paper, a very difficult thing to do. Like all paper dolls, these are made with paper that is colored on one side, with the white side used for the face. The simple pattern of folds described here can be used to make different types of dolls. The

As we are dealing here with an imperial couple, it is good to use colored Japanese paper (washi) but to avoid primary colors in order to produce a more elegant and refined effect. THE EMPEROR

INSTRUCTIONS FOR THE EMPEROR Use a square sheet of colored paper that is white on the back, making sure to choose a color that befits an emperor. After folding corner A to subdivide it into three sections, lift B upwards.   1 

 2 

Make folds 1, 2 and 3 in that order.

 3 

Unfold C and D and lift only the top layer of A on a diagonal.

 4 

lift A vertically.

Fold B upwards, then draw out the part labeled ○ behind A as you have already done on the right side.  5 

Make a crimp fold close to the center of the sheet, then close by make a mountain and a valley fold, and finally make an outside reverse fold in the direction of the arrows to create the collar  7  .  6 

Make an inside reverse fold with C and D from the line of the mountain fold, then flip over (after inserting C and d, reclose the flaps). Fold F as in figures  9  and  10  , then pull it gently and bring it over to the dotted line in  11  . repeat the steps made with F on the right side with E.  8 

Matching up the designs on the front and back, fold to join ○ and the two x’s, then open the lower corners on the left and right to create the sleeve.  12 

Pull the bottom section to the rear from the mountain fold line and straighten out the entire figure.   13 

 14 

The finished emperor.

THE EMPRESS

INSTRUCTIONS FOR THE EMPrESS Repeat the steps for making the emperor up to figure  6  . Join the top left and right corners with the corners marked by their respective symbols, making valley folds in the positions indicated, then shape B as in figures  7  and  8  to form the collar, then lay D on top of C.   6 

 9 

Making a valley fold, raise C and D upwards on a diagonal.

 10 

Making a mountain fold, draw the lower part towards the back.

 11 

Gently pull corners C and D to meet the dotted line.

 12 

Fold both corners in the direction of their respective arrows.

Invert C and D inwards and fold the top corners towards the back to form sleeves.   13 

reduce the size of the shoulders by pushing the part marked with ○ behind the sleeves, then smooth out thoroughly.   14 

 15 

The finished empress.

The two dolls will automatically stand erect if you adjust the base so that it is perfectly flat. You can also support them by cutting out some cardboard and attaching it.

FIVE MUSICIANS 五人ばやし Accompanying the ornamental dolls depicting the imperial couple and members of the court, which on the Japanese holiday of Hinamatsuri (doll’s day or Girl’s day) make a fine spectacle on top of a specially decorated platform, are five musicians that attract particular attention because of the movement that animates them.

In order to construct the musicians, I have prepared a series of steps that are identical for all. I differentiate them only in the final phase

by altering their orientation and hand movements, thus expressing the elegant gestures that are typical of each musician.

INSTRUCTIONS FOR THE DRUMMER WITH A LARGE HANd DRUM Fold a square sheet of paper as in figures  1  to  5  . Fold B by making folds 1 and 2 in that order, then using two fingers pull the flap marked by the x from the outside and invert it towards the left to form the collar.   6 

 7 

Open pockets C and d. Make folds  8  ,  9  and  10  in that order.

Fashion the head by making a crimp fold in A, then position the figure to express a sweeping motion, paying particular attention to the corner of folds C and d.  11 

 12 

The finished model.

THE DRUMMER WITH A HAND DRUM

INSTRUCTIONS FOR THE DRUMMER WITH A HANd DRUM  13 

Start with the model in figure  11  with the open right sleeve.

Make the folds in  14  , then push the left shoulder inwards as in finally close the right sleeve.  16 

The finished model.

  15  ,

and

THE FLUTIST

INSTRUCTIONS FOR THE FlUTIST Start with figure  14  , making fold 1. Make a small crimp fold. Make the folds shown in   18  , then make an inside reverse fold with the shoulders and fold the head on a diagonal as in  19  .   17 

 20 

The finished model.

THE SINGER

INSTRUCTIONS FOR THE SINGER Fold the model created up to step  18  as in  11  , then, after making a crimp fold, fold the hands forwards in a quiet and relaxed position.  21 

 22 

The finished model.

THE DRUMMER

INSTRUCTIONS FOR THE DRUMMER Once you have finished the model of the singer, slightly lift the right hand as a finishing touch.  23 

The finished model.

You can either make the musicians in blue, or else try to imagine them in various colors, each in tune with the timbre of his instrument.

CHILDREN’S DAY CARP BANNER AND HELMET こいのぼりとかぶと On Children’s day, every house with a baby boy traditionally displays a carp-shaped banner (koinobori), the symbol of power and vitality, as well as warrior figures, emblematic of valor and courage. The baby boy wears a paper samurai’s helmet or cap.

How satisfying it must be for children to manage to make an origami carp banner and helmet entirely on their own. THE CARP BANNER

INSTRUCTIONS FOR THE CARP BANNER Take a square sheet of paper and fold C and D as in the figure, then fold E and F.  1 

 2 

Pull A to the back.

 3 

Pull C and D from inside E and F as far as the dotted line.

 4 

Make crimp folds in C and d.

 5 

Fold in the direction of the arrow.

 6 

Flip to the rear.

After folding the sheet along the vertical axis in order to subdivide it into three sections, tuck G into pocket H as shown in figure  7  .  6’

Insert one finger from above and thoroughly smooth out the parts on top of G and H, as in figure  9  , so that the two strips do not come apart.   8 

Invert a thin portion of A and B inwards, as much on the diagonal as possible.   9 

Pull B, then push the part marked ○ inside, shaping the model to end up with  11  .  10 

THE PINWHEEL

THE HELMET

INSTRUCTIONS FOR THE PINWHEEl  1 

Fold A and B in front and C and D on the back.

 2 

Fold E and F in front and G and H on the back.

Pull corners A and B out and over to the dotted line, then finish by pulling C and D out in the back.   3 

INSTRUCTIONS FOR THE HElMET After folding a square sheet of paper along the diagonal, fold a strip of it not far from the bottom upwards.  2 

Make folds 1 and 2 in that order.

 3 

Fold upwards in the direction of the arrows.

Insert a finger from beneath and stretch AB apart, then finish folding as in figure  5  so as to bring C and D together.   4 

 6 

The model seen from the front.

If made from an 31.5 x 31.5 in (80 x 80 cm) sheet, the helmet can be worn.

IRIS BLOSSOMS 菖蒲の花

HOW TO MAKE A HEXAGON OUT OF A SQUARE SHEET

INSTRUCTIONS ON HOW TO MAKE A HEXAGON  1 

Fold a square sheet of paper along the diagonal, then make folds 1 and

2. Using B’ as the fulcrum, raise C on a diagonal in such a way that C’ meets with point E on line イ. Bend A towards the back.   2 

Cut the sheet along the line perpendicular to the median fold, then unfold it.   3 

THE IRIS (A)

INSTRUCTIONS FOR THE IRIS [A] Make mountain and valley folds in the hexagonal sheet to obtain the closed form of figure   1 

 2  .

Make inside reverse folds in the right and left corners from the lines of the mountain fold.  2 

Make a crimp fold in d, then open the sheet and repeat the same steps done with d, with B and F.  3 

 4 

Make folds 1, 2, 3 and 4 in that order.

repeat the steps done in been folded inwards  3  .   5 

 6 

Flip the sheet over.

  4 

with B and F, which, like d, have already

and   8  Fold E down, twisting it, then repeat the same step with C. Shape the corolla by passing the petals between your fingertips.   7 

 9 

The finished iris (A).

THE IRIS (B)

INSTRUCTIONS FOR THE IRIS [B] Follow the steps in [A] as far as figure   4  , then fold only the left side of the bottom layer in the direction of the arrow.  5 

Fold each corner down in the direction of the arrows.

 6 

Make folds 1, 2, 3 and 4 in that order.

 7 

repeat the steps done with D in  6  with B and F.

 8 

Shape the corolla by passing the petals between your fingertips.

 9 

The finished iris [B].

ANGEL FISH エンゼルフィッシュ An angel fish’s mouth is not that big but it is intentionally exaggerated here to make the relevant steps easier to follow. The effect will be more refined if you use gray, fine-grained Japanese paper (washi).

INSTRUCTIONS Start with Base Fold (A) on page 40.  7 

Fold A and B down.

Make a mountain fold without flattening it out too much. reverse the fold two or three times in order to push E inside.   8 

Make a valley fold with each corner in the direction of the respective arrows.   9 

Bring G to the left and I from the back to the right, then fold E down as in figure  11  .  10 

 12 

Pull up A and B horizontally outwards as far as the dotted line.

Fold the corners on the upper left, unfolding them in the direction of their respective arrows, then fold a thin portion of A and B inwards.   14  refold the summit inwards, between the two layers, starting from the dotted line, then fold H and I in the direction of the arrows and finish off the mouth.  13 

Pick up mountain fold D with two fingers, as in figure  16  , and hoist it up between the two layers.  15 

 17 

Hoist up C as you did d.

Fold C and D inwards, each from its respective mountain fold line, and turn them around.  18 

 19 

lift D on the left, then lift C.

Curve A and B in the direction of their respective arrows from the point of the fin’s joint, then make a valley fold in C, reversing it towards the outside, and proceed as in figures   20 

and   22  . Finally, insert the portion of D marked with the x inside the portion of C bearing the same symbol.  21 

 23 

The finished fish.

Once you have mastered the basic steps, you can make your fish even more animated and graceful if, after folding F and G in step   9  , you pull them out and turn them into two pectoral fins. By making a variety of models, you can put together an elegant decorative mobile. Note: While doing this model, be especially careful in step   12  not to exert too much pressure on the point where the dotted lines lie so that the overlap of the inner layers is not visible from the front. If you discover that fins A and B have turned out too short, don’t worry. Instead of an angel fish, you have made a porgy or sole.

An early black and white photograph of a group of angel fish constructed by Akira Yoshizawa.

CUCKOO ほととぎす To create a soft effect, use colored paper in a neutral tone backed in white. Also, since the scheme of the fold lines is rectilinear, reduce the rigidity by making sure that right angles and parallel lines do not form between each fold.

INSTRUCTIONS  1 

Fold a square sheet of paper along the diagonal, then lift A upwards.

 2 

Fold in the direction of the arrow.

 3 

Fold C and D outwards, each from its respective valley fold line.

Fold E and F inwards, each from its respective mountain fold line. Fold C and D from the valley fold line to the right and left respectively.   4 

  5 

Make an inside reverse fold with B as in figure   7  from the line of mountain fold 1, then another reverse fold on the line of valley fold 2 in order to obtain  8  .   6 

Make an inside reverse fold with A to form the head, then finish it by spreading open the wings.  8 

 9 

The finished cuckoo.

WILD GEESE がん Now let’s make a wild goose, one of those migratory birds that can be seen shooting across a clear evening sky in a honking flock.

INSTRUCTIONS Take a sheet of paper in the shape of an isosceles right-angled triangle. Bring the two equilateral sides together and make a mountain and a valley fold on each of them, closing them as in figure  2  .   1 

 3 

Flip over.

 3’

Fold in the direction of the arrows.

 4 

Fold both sides in, matching up their respective symbols.

 5 

Flip over.

Fold C and D down from the valley fold line so that the back of corners E and F form a small triangular pocket.  5’

 6 

Fold in half, starting from the center.

On the neck, leave part A half open and make an outside reverse fold. On the tail, fold 1 on the inside, along the mountain valley line, then fold it in the opposite direction along the valley fold line.  7 

Make an outside reverse fold in the direction of the arrows on B, then make a crimp fold on A, flattening out the end.  8 

 9   10 

details viewed from the bottom.

 11 

The tail seen from above. Shape the wings with your fingertips.

 12 

The finished goose.

MALE AND FEMALE PHEASANTS 雉 The pheasant is the symbolic bird of Japan. It must be modeled in such a way that it captures its noble and elegant bearing.

Male and female origami pheasants displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014. THE PHEASANT

INSTRUCTIONS Fold a square sheet of paper as in figure direction of the arrows.

  1  ,

then fold it again in the

reopen the sheet and fold corners C and D downwards using two fingers as in figure  3  .  2 

and   5  Make a valley fold holding on to C and D and rotating them towards the outside.   4 

 6 

Fold C and D in the direction of the arrows.

and  8  letting symbols △ and ○ on C and D slide in the direction of the arrows, open pockets C and D and flatten them out. (The line of the fold on corners C and D corresponds to the fold executed in figure  6  .)  7 

Making a mountain and a valley fold, pull out D in the direction of the arrow.  8’

Place symbol ○ over symbol □. repeat the steps done with D with C in order to obtain  10  .  9 

After making valley folds 1 and 2, as in figure  11  , extend and fold in half along the vertical axis along the line of valley fold 3.  10 

Fold along lines 1 and 2 without smoothing the fold out too much. reverse the fold two or three times in such a way as to push inwards the point where valley fold 2 was made in order to obtain  13  .   12 

Fold a thin portion of B inwards in the direction of the arrows, then invert A between the two layers on a diagonal.   14 

 15 

Pull B out and over to the dotted line, then extend A as in figure  16  .

Press in the direction of the arrows to form a pocket inside A, then pull out and lift as far as the dotted line in  17  .   16 

 18 

Make an inside reverse mountain fold.

 19 

Pull out from beneath symbol ○, pulling towards the front and rear.

 20 

Make an outside reverse valley fold in the direction of the arrows.

Smooth out the fold and, making a crimp fold, create the head and beak.   21 

 22 

The finished male pheasant.

To make the female, follow the instructions for the tail in the illustrations. Complete the steps until you have shaped the spine, then finish it off by folding a tiny portion inwards.

SMALL BIRDS ことり The aim here, as shown in the photo below, was to create a spring scene filled with lots of small, playful, chirping birds. To achieve this, all the birds must be of the same type or species. By varying the angles of the heads and legs, you can create different poses and expressions.

HOW TO CONSTRUCT THE LEG

INSTRUCTIONS Start with Base Fold (A) on page 40.  7 

raise C and D upwards horizontally.

 8 

After folding a thin portion of C and D inwards, fold B downwards.

 9 

Flip over.

Make an inside reverse fold with E between the two layers, then fold in half.  9’

 10 

Make an inside reverse mountain fold with A and B.

Invert A and B backwards, folding them inwards to correspond with the dotted line.   11 

 12 

Fold the indicated corners inwards in the direction of the arrows.

After folding a thin portion of B inwards in the direction of the arrows, hold the model in the place marked by the symbol ○ and gently pull A in the direction of the arrow in order to inflate the chest as in figure  14  .  13 

 14 

Invert A, C and D in the direction of their respective arrows.

Fold C and D and invert them, then open A slightly and smooth out the end to make a crimp fold as in  16  .   15 

 17 

Open the head in the direction of the arrows, inverting them towards.

Take care that the right angles on the lines of the spine-head and spine-tail do not create rigid and square forms that belie the delicate softness of the bird. If making the head is too difficult, leave everything as in  16’ since the model will turn out equally well. It is also not essential to shape the legs precisely when making the basic folds. You can simply leave a bit of space between one edge and the next and take care of the details when doing the finishing touches.

DRAGONFLY とんぼ

INSTRUCTIONS Start from Base Fold (D) on page 43.  7 

Fold A and B down.

 8 

Fold C and D as in figure  9  .

Do the steps in figure   10  , then fold two thin sections of E as in   11  . Complete the wings with an inside reverse fold, paying careful attention to points C and D. Make the folds shown in figure  12  , then flip over as in figure  13  .  13’

Fold F.

 14 

Fold and flatten F.

 15 

Repeat the steps made with F with G.

 16 

Fold the two small sections on the outside.

 17 

Fold corners F and G towards the center, then make a crimp fold in B.

Push F and G inwards in the direction of the arrows, then pull both sides from behind B.   18 

After folding the two thin sections towards the median, insert into them the corners beneath symbol ○.   19 

Complete the dragonfly by making valley folds in the two thin strips of its belly to reach  21  .  20 

BELL CRICKET すず虫 Let’s make some insects that are around in autumn, for example the bell cricket which the Japanese have loved since antiquity for its alluring song.

The models here show the cricket with folded wings.

INSTRUCTIONS After folding a square sheet of paper as shown in the figure, fold it again to make it thinner.   1 

 2 

Make mountain and valley folds in order to make a crimp fold.

Use two fingers to raise A to the lines of the valley and mountain folds. Place corner G over corner H and flatten them out.  3 

 4 

Draw A downwards, making a valley fold to obtain  5  .

Fold G and H, then shorten B by folding it inwards over the lines of the mountain and valley folds.  5 

Open pockets G and H, making them run towards the outside, then fold the lower corners on the back.  6 

Starting from the dotted line, fold the piece with the symbol ○ inwards between the two layers, then fold I and J down.  7 

 8 

Fold the upper corners towards the back.

 9 

Fold in half.

 10 

Raise I and J and shape them.

 11 

The finished bell cricket.

GRASSHOPPERS こおろぎ The green models depict four types of grasshopper, from left to right, kusakiri (Ruspolia lineosa), hishibatta (Tetrix japonica), umaoimushi (Hexacentrus japonicus) and kutsuwamushi (Mecopoda nipponensis).

The two brown models above depict insects produced by following the same steps as for the grasshopper but extending the part on B’s rear or folding it inwards at the end in order to taper it.

INSTRUCTIONS Start from Base Fold (c) on page 42.  7 

Make an inside reverse fold with C and D, and raise them upwards.

 8 

Fold a thin portion of C and D.

Making a mountain and valley fold, lift D as in figure the same step with C.  9 

 11 

Invert C and D, then fold A downwards.

 12 

Make a variety of crimp folds in B.

  10  ,

then repeat

Make reverse inside folds with C and D, then shape the body by making a mountain fold.  13 

Fold C and D downwards to form the legs, then finish up by folding the lower corners inwards.  14 

 15 

The finished grasshopper.

You can make lots of tiny dry origami leaves and scatter them on a surface, then place one or more of these insects on top of them. To make the leaves, see the instructions on page 56.

CRANE BASE FORM AND VARIANTS 折づる

This is not simply a matter of creating different types of cranes. By applying the procedures, you can learn about and appreciate the ratio between the shape of the sheet and particular folds and their relationship to a particular theme.

INSTRUCTIONS In order to construct the crane from base folds (A), (B), (c) and (D) illustrated on pages 40–3, proceed as above. Usually the head, tail and two wings are made from the four corners of the sheet, but it is also possible to come up with schemes that begin with base folds (c) and (D) in which only three corners are available.

FOX HEAD きつねの面

If you move your fingers while holding the mask at points E and F, you will see its mouth and ears wiggle.

INSTRUCTIONS After folding a square sheet of paper along diagonal AB, proceed as in figure  1  , bringing C and D downwards with one mountain and one valley fold.  2 

Open C and D, making a valley fold.

 3 

Make a crimp fold following the proportions indicated in the figure.

 4 

Fold in half along the vertical axis.

 5 

Invert B between E and F.

 6 

Open B in the direction of the arrows and make a valley fold.

Finish up the model by twisting the end of the nose around itself, then shape the jaw by pressing on its end with your fingertips in order to flatten it out.  7 

 8 

The finished fox head.

TWO TYPES OF FISH さかな

INSTRUCTIONS FOR FISH (A) Start from Base Fold (B) on page 41.  7 

Fold A and B down.

 8 

Unfold both sides in the direction of the arrows.

 9 

Raise C and D up.

Make an inside reverse fold with A and B, then, for the size shown, fold C and D, then D’s point as in figure  11  and make a crimp fold.   10 

Close the folds, keeping the end of D flat, then repeat the steps done with D with C.  12 

 13 

Pull C and D downwards.

 14 

Fold corners F and G inwards.

Bring H and I to the back, then, after folding A and B in the opposite direction, fold the model in half along the vertical axis.  15 

Make a reverse inside fold with corner E, then fold the two little corners of the chest inwards between the two layers. Finally, make an inside reverse fold with C and D from the mountain fold line, thus forming a nearly right angle with the line of the spine in order to obtain  17  .   16 

FISH (A)

FISH (B)

After making an inside reverse fold with E in the direction of the arrow, open A slightly and shift the fold to form the pectoral fin, then repeat the same step on the back of B. Finally, refold C inwards, bringing it inside the dotted line to obtain  19  .   18 

Make a mountain fold and firmly insert corner D superimposed over C between the two layers, then fold the rear section in the same way to attach the tail. Finally, shape the entire figure.  19 

 20 

The finished variant (A).

INSTRUCTIONS FOR FISH (B) Follow the steps for making variant (A) as far as figure  16  , then make an inside reverse fold with E, starting from the mountain fold line. Finally, fold a thin section of C superimposed on D inwards on as much of a diagonal as possible. Using two fingers, pick up E and make an inside reverse fold between the two layers, then finish up A and on the rear B so that they assume the form of fins. Finally, form the tail by folding D on the inside of the dotted line and pulling it in the direction of the arrow.  17 

 18 

The finished variant (B).

SEA TURTLE 海がめ

INSTRUCTIONS Start from Base Fold (A) on page 40.  7 

Fold A and B downwards in the direction of their respective arrows.

Make an inside reverse fold with each of the four corners on the left and right, then lift C and D up to the dotted line.   8 

Fold a tiny portion of C and D backwards on a diagonal so as to end up with  10  .  9 

Following the direction of the arrows, make outside reverse folds with C and D, then make a mountain and valley in E to form a crimp. Flip over  10 

to the back. Fold E as shown in the enlarged detail, then, using two fingers, lift A superimposed on B in such a way as to inflate the part on the rear (which will become the turtle’s spine). Finally, invert them on the left.  11 

 12 

Pull out A.

Fold A in the direction of the arrow, then shape the central section into the form of a plate in order to obtain  14  .   13 

 14 

Flip over to the back.

(Side with the convex spine.) Making a valley fold, make an outside reverse fold with A in the direction of the arrow, then, after making a provisional valley fold with B, extend the end of it with a mountain fold so as to obtain the flat form of figure  15  .   14’

After folding A in the direction of the arrow, make a mountain and valley fold in B in order to insert it between the body and the shell.   15 

and  17  Making a valley and a mountain fold in A, smooth out its end and insert it beneath the shell, then shape them together.  16 

 18 

The finished sea turtle.

TWO TYPES OF SHRIMP えび

INSTRUCTIONS Take a sheet in the form of an isosceles right-angled triangle and execute the folds in figures  1  ,  2  and  3  in that order.  3 

Extend.

 4 

Lift B up, inverting the direction of the folds.

 5 

Repeat the step done with B with A.

After folding A and B down with valley folds 1, turn them up with mountain folds 2.   6 

 7 

Make a valley fold with イand ロ as in figure  8  .

 9 

Fold the little corners at the base of A and B.

 10 

Flip to the back.

Fold D between the two layers with mountain fold 1, making sure not to fold A and B, then refold it inside with valley fold 2. Finally, make the tiny crimp folds in the lower area, one by one.  10’

 11 

After making a mountain fold, make valley folds with E and F.

Bring G and H to the back with mountain folds ハ and ニ, then rotate them forwards with valley folds ホ and ヘ.  12 

 13 

Fold in half along the median.

Gently push the parts with arrows 1 and 2 inwards, then carefully pull out 3, 4, 5 and 6 in that order to obtain the first variant of  15  .  14 

For the second variant, in step  14  push the point with arrow 7 inwards in order to shape the head, then make an outside reverse valley fold with A and B. On the spine, press 1 and 2 inwards in the direction of the arrows, then firmly pull 3, 4, 5 and 6 in that order to round out the tail. Finish up by pressing in the points marked with ○ , along with the indicated mountain folds, in order to end up with the second variant of  15  .

SLED DOG からふと犬

The Karafuto or Sakhalin husky dog breed was once employed in Antarctic regions. Thanks to its exceptional resistance and courageous nature, it was able to survive the tough winters of the South Pole.

INSTRUCTIONS Start with Base Fold (A) on page 40, making one for the front half and another for the rear half, then put them together. Start with the rear half  7 

Fold C and D as in figure  8  , paying particular attention to the angle.

Making a mountain fold, bring C and D to the back (mountain folds C and D should not be perpendicular to the vertical median).   8 

 9 

Fold A down.

 10 

Fold B and E.

Make a mountain fold in A, then, picking up the edge with two fingers as in figure   12  , make a valley fold so that A rises up and C and D come together  13  . You have thus formed the tail.  11 

 13 

Pull C and D gently towards the dotted line.

 14 

and  15  Make all the folds in the direction of their respective arrows.

Fold the upper left corner inwards, then fold the end of the tail and invert D backwards, then repeat the steps done with D with C in order to obtain  17  .   16 

After assembling 17’ with the front half, finish up the hind legs so that they correspond to the front ones as in figures  18  and  19  .

Front half  7 

Raise C and D upwards.

 8 

Unfold C and D to the left and right.

After folding points C and D, make a valley fold in the direction of the arrows.  9 

Carry D to the back, then insert the completed rear half into it so that the ○ and x on the front half coincide with those corresponding to them  10 

on the rear half as shown in figure  17  . + 17’ Fold one part of the front legs, turning C and D in the direction of the arrows.  11 

+  18  Unfold superimposed A and B in the direction of their respective arrows, raising them upwards from the valley fold line.  12 

Complete the front half by constructing the head according to steps   13  through  17  , then reach  18  +  19  , proceeding as in the illustrations of the leg details.

RABBIT IN THE SNOW うさぎ A white bunny is about to snatch a morsel of food that it has managed to find buried beneath a thick blanket of snow in the countryside. But, the story goes, another animal is on its tracks. How can it prevent itself from being seen? The little creature is crouching, motionless, with bated breath. Danger approaches, closer and closer, and is but a hair’s breadth away when with a lightning quick leap the bunny succeeds in escaping its worst possible fate. Truly the rabbit's movements are of the kind that Zen would describe as “emanating from stillness.”

If you intend to make a little mobile or house decoration with this origami model, use fairly thick paper, such as lined Japanese paper (washi) that you have prepared by moistening its rear side uniformly with a damp tissue. Wait until the paper dries before beginning to work on the origami, passing your hand over the sheet repeatedly so that it does not sag at any point.

INSTRUCTIONS Take a square sheet of paper and fold in half along the horizontal axis, then make a mountain and a valley fold to obtain the closed form of figure  2  .  1 

 2 

Extend A as in figure  3  .

Make a mountain and a valley fold with A and draw C and D to the back.   3 

 4 

and  5  Fold in the direction of the arrows.

 6 

Repeat the steps executed with A with B.

Extend A and B as in figure inwards.   7 

  8 

and fold the part with the ○ symbol

Fold the two strips with the symbol inwards and fold the tip of corner E backwards.  9 

 10 

Fold in half.

 11 

Invert F between G and H.

 12 

Make an inside reverse fold in the direction of the arrows, tapering F.

Form the tail by lifting F on a diagonal, then make a crimp fold corresponding to the neck in order to reach  14  .   13 

Make a crimp fold corresponding to the belly by folding a mountain and a valley fold both on the top and bottom layers in order to inflate the body and round it out.   15 

Fold a small portion of the tips of the ears inwards, fold the corners with the X symbol upwards and unfold the upper half of each ear, then model the muzzle by delicately pressing from above on the head towards the neck.   16 

 17 

The finished rabbit.

By varying the size of the model, you can create an entire family of beautiful origami rabbits.

An early photograph of an origami rabbit folded by Akira Yoshizawa.

BEAR CUB 子ぐま

INSTRUCTIONS Start with Base Fold (A) on page 40, making one for the front half and another for the rear half, then put them together. Start with the front half  7 

After folding B at the bottom, fold in half.

 8 

Make an inside reverse fold with A and fold C and D inwards.

Fold B to form the ears, fold C and D backwards inside the dotted line, then pull A from the inside.  9 

Making folds 1 and 2, push inwards in the direction of the arrow, fold the point inwards, then make folds イ, ロ, ハ and ニ in that order to form the hind legs.  10 

Fold the end of the chin and the legs to complete the front half (see page 124).   11 

Rear half

  12 

 7 

Firmly pull C and D to make A and B appear as in figure  8  .

 8 

Fold C and D downwards as in figure  9  to obtain  10  .

 10 

Fold in half.

 11 

Make an outside reverse fold in B.

To join the front and rear halves, move aside outer layers E and F in the front half and fold back a thin portion of the inner corners on which you have superimposed the corners of the pocket of the rear half. Fold them one over the other and cover with the outer layers E and F.

Pull B from the inside in the direction of the arrows, then fold once again as in  13  in order to obtain  14  .   12 

 14 

Unfold in the direction of the arrow. Form the tail by doing steps

 15 

through  19  .

Holding the section marked by the ○, gently pull C and D towards the dotted line.  19 

Fold the top and bottom layers of the belly, then reverse C and D backwards.   20 

 21 

Refold B inwards, then fold C and D.

 22 

Fold the end of the leg back to complete the rear half  23  .

By inserting the rear half between layers E and F of the front half, you will end up with the complete model created from  12  +  23  .

BABY GORILLA ゴリラの子 In this origami model I wanted to depict one of those baby gorillas that visitors to Tokyo’s Ueno Zoo find so captivating. You can create different poses and expressions by modifying the folds of the limbs and head.

INSTRUCTIONS Take a square sheet of paper and make mountain and valley folds to end up with  2  .  1 

Make a mountain and a valley fold, drawing A and D downwards to obtain  3  .   2 

 3 

Make the folds indicated in the direction of their respective arrows.

 4 

Draw B and C to the back, folding them as you did with A and D.

 5 

Fold in the direction of the arrows once again.

Holding AD and CB, gently pull the model towards the left and right to extend it.  6 

 7 

Fold F inwards from the mountain fold line.

 8 

Make a crimp fold in E.

Fold E downwards and G and H inwards, proceeding as shown in the figures illustrating the details of the hand and foot.   9 

Insert point E beneath the crimp fold that forms the front. Fold the left and right corners of the head inwards from the front and from the right, then finish up by pulling the hands downwards.   10 

 11 

The finished gorilla.

The gorilla possesses a powerful skeleton and muscular system. For this reason, after completing the steps, insert a finger inside its body and inflate it to give it an even more robust appearance.

Akira Yoshizawa with one of his origami gorillas.

CHRISTMAS ORIGAMI サンタクロース Made out of soft, colored paper, the figure of Santa Clause can be pasted on a piece of cardboard to become a Christmas card, or function as a bookmark or embellish a gift-wrapped package.

The Santa claus figure can also be transformed into an attractive christmas tree ornament, along with the other christmas origami models shown here—candles, stars and stockings.

The Santa claus model shown here was made with two sheets of superimposed paper—a red one on top and a white one beneath. The top layer was turned up along the edge of the jacket and the cuffs to reveal the white. In this version, the hands and legs were created from the underlying sheet and the legs were given no crimp folds. If you intend to hang this model as an ornament on a christmas tree, avoid folding the tip of the hat and the hand supporting the sack and omit the crimp fold on the legs. SANTA CLAUS

INSTRUCTIONS FOR SANTA CLAUS Fold a square piece of paper along the diagonal to obtain figure  1  .  1 

Fold A and B down.

 2 

Make E and F fall on the outside by folding down the median.

 3 

Pull C from inside D by bringing it over to the dotted line.

 4 

Fold C in the direction of the arrow.

 5 

Fold only the upper layer of B.

 6 

Fold G.

 7 

On the left side, repeat the same steps done with C and B with A and D.

Fold H and G, then D and B, pulling them forward, then fold A and C towards the back.   8 

Fold D, unfold pockets H and G, fold back a tiny piece of the top corner, then make a crimp fold on each leg.  9 

 10 

The finished Santa Claus (posing with his sack over his shoulder).

SANTA’S BAG

INSTRUCTIONS FOR SANTA’S BAG Take a sheet of paper of the same size as that used for the Santa Claus and repeat the steps as far as figure  4  .  4 

Making a mountain and a valley fold, draw C between layers E and F.

Fold C and E twice towards the outside in the direction of their respective arrows to turn the corners over themselves (see page 38, “A Guide to Origami Folding Symbols,” and obtain the model in figure  6  .   5 

 6 

Repeat with A, B and C (eight folds in all).

 7 

Pull only the top layer to the right.

 8 

Holding the model at the point marked with ○, inflate the sack.

 9 

The finished Santa’s bag.

CHRISTMAS CANDLES

INSTRUCTIONS

Fold a square sheet of paper as shown in figure   1  , then make the indicated mountain and valley folds, one after another. While making valley folds 1 and 2, extend the parts with the △ and ○ symbols.  2 

 3 

Make a small crimp fold in A.

 4 

Fold two small portions of A as you did in step  2  .

 5 

Make a valley fold without pressing too hard.

 6 

Make a valley fold, inserting F inside E.

 7 

Shape the model into a cylinder.

 8 

The finished Christmas candle.

If you follow these steps, the flame will be the color of the paper you have used. If you want, you can make different kinds of candles by using paper of various hues that is colored on only one side. In this way, if the white side serves as the principal color, then the color of the flame will always be different. Alternatively, you can use white paper and insert a little piece of colored paper to show the flame. CHRISTMAS STARS

INSTRUCTIONS Start from Base Fold (A) on page 40.  7 

Invert C and D respectively to the left and right.

Unfold C and D in the direction of the arrows, then on the back fold A towards the bottom.  8 

 9 

Flip over.

Unfold the pockets of E on the left and the right, flattening them out to obtain one central pocket.  9’

Insert the corners inside pocket E following the direction of the arrows.   10 

 11 

Flip over.

 11’

Finish the model by making a mountain and a valley fold.

 12 

The finished Christmas star.

CHRISTMAS STOCKINGS

INSTRUCTIONS Make the folds in figures  1  and  3 

 2 

on a piece of paper.

Fold corner G to bring B down.

Fold  4  to obtain  5  , then reversing the direction of the folds push G in as in figure  6  . Fold the end of B inwards, then unfold A as in figure  7  . On the inside, push C and D, which overlap on only one side, to form a pocket that you can close by folding A inwards.  6 

 8 

The finished Christmas stocking.

A coarse-grained paper with a corrugated surface will create a softer effect. You can make large stockings and fill them with gifts.

DEMON MASKS おにの面 Many demons populate the world of Japanese folklore and also frequently surface in children’s games. But is there such a thing as a good demon? In this origami, I have given it a try.

INSTRUCTIONS Start from Base Fold (A) on page 40.  7 

Make crimp folds by folding A forwards and folding B backwards.

 8 

Unfold F and H in the direction of the arrows.

Pull A and B, drawing them over the dotted lines, then make the two crimp folds by executing folds 1, 2, 3 and 4 in that order.   9 

Pull I to the back, fold F, G and D in the direction of the arrows, then make a crimp fold in C.  10 

Fold the lower corners of the eyes behind, then insert C beneath the upper jaw.   11 

 12 

and  13  Fold in half, then finish up by extending the nose.

 14 

The finished demon mask.

Measurements are provided for the folds in steps  9  and  10  , though you need not follow them too precisely. Do not worry about spoiling the results. On the contrary, by varying the proportions, you will end up with lots of different demon faces.

The demons (oni) of Japanese mythology are not all of the same type. The can embody the spirit of ancestors and thus be benevolent or they can become an emblem of evil itself. Depending on how they are interpreted, origami depicting them can assume one or the other aspect. In both cases, however, the primary concern is to express a supernatural power. If your oni is an ancestral spirit, it must have a fixed and tranquil “face” so as to simultaneously instill fear and display its ability to protect. Demon masks derived from this basic model are used for the ritual of Namahage (New Year’s Day), when young men wearing straw cloaks and masks like these break into homes, screaming and frightening children. After being appeased with offerings of fish and saké by the head of the household, they go around bestowing blessings. Some demon masks protect people from evil spirits.

LION MASK ししがしら I wanted to make these lion heads to commemorate certain popular festivals and ritual feasts that I attended as a child, which were held to ward off evil spirits and ensure a good harvest.

During Japanese festivals, a large banner will flutter at the entrance to the village and the notes of the flute and the banging of kagura drums, the sacred music of Shinto, will resound everywhere as dancers wearing traditional lion masks pour into the streets.

INSTRUCTIONS Start from Base Fold (A) on page 40.  7 

Fold F and H in the direction of their respective arrows.

Invert A and B respectively between E and F and between H and G, then make a crimp fold in D.   8 

Unfold A and B in the direction of the arrows, inverting outwards, then fold I backwards. Finally, raise F and G as you make a mountain and a valley fold.  9 

 10 

Lift C and D upwards, then fold F and G.

Make a crimp fold in D, then draw C beneath D and fold corners A and B inwards.  11 

 12 

Fold to lift the ears forward, then finish up by making folds 1, 2, 3 and

4.  13 

The finished lion mask.

If you grab the ears and move them, the lion will open his mouth. I wanted to make these lions seem to be smiling so that they could be used as auspicious decorations for New Year’s Day. If this is what you

plan to do, make two facing each other, of which one—like those found at the entrance to many Buddhist temples—will have its mouth open and serve as the ancient charm against evil spirits. The masks were constructed from two sheets of superimposed paper, one red, the other black. The ears were made by folding the outer layer of red inwards in order to expose the black of the underlying sheet.

POWER BOAT 快速艇

INSTRUCTIONS

Take a square sheet of paper and bring A and B close to the median, then fold C and D in the direction of the respective arrows.   1 

Fold D inwards, starting from the median point between D and E, then roll up C.  2 

and  4  Fold in the direction of the arrows.

 3 

Roll up F and H, making folds 1 and 2 in order, then roll up G and I in the same way on the back.  5 

Pull H and I downwards and make outside reverse folds in them, starting from the line of the valley fold.   6 

Holding the point marked with the ○ symbol, unfold in the direction of the arrows to obtain  7 

 8  .  8 

Flip over.

 8’

keeping H and I level on the surface, join F and G.

To shape the hull, insert the index finger of your left hand in the rear part of G and your middle finger in the rear part of F and press from the front with your thumb, then fold H and I back in the direction of the arrows in order to hollow out the interior and make it flat.  9 

Gently lift C and secure it in a way that the symbols labeling the figure meet up.  10 

 11 

Shape by lifting J and k.

 12 

The finished power boat.

AEROPLANE ひこうき

INSTRUCTIONS Take a sheet of paper of the shape of an equilateral triangle. After making a mountain and a valley fold as in figure   1  , obtain the closed form of figure  2  .  2 

Open pocket D.

 3 

Repeat the step done with D with E and F.

 4 

Making a mountain and a valley fold, unfold D.

 5 

Repeat the steps done with D with the inner layers E and F.

Fold one part of B inwards, then fold only the upper layer of the corner on the left.  6 

 7 

and  8  Fold in the direction of the arrows.

and   10  Fold the end of A about a third of the way up, inserting the part marked by the x symbol inside the one marked with the ○ symbol, as shown in the illustrations of the details.   9 

 10 

Fold C backwards, setting it in the same position as A.

 11 

Pull F from inside in the direction of the arrow.

Inverting the direction of the fold, unfold it in the direction of the arrows.   12 

Unfold the snout in the direction of the arrows, reversing it towards the exterior, then fold B about one third of the way up and shape the tail by executing the steps in the order shown in the illustrations of the detail. Complete by extending wings A and C to the left and right.   13 

 14 

The finished aeroplane.

If you open the flaps gently in the upper part of B, as shown in the reference figure, the wings will become fixed. Stabilize them by sticking a toothpick into the snout, then insert a little hook to the end of one wing and tie a string to it. You can make the aeroplane fly up and down as in the illustration. Have fun creating this model using different types of paper. choose sheets that are approximately 12 x 12 in (30 x 30 cm).

LIGHTHOUSE 燈台 when creating an origami, I am inspired not only by the subject matter but also by the very process of folding, and I am always fired by some emotion.

I wanted this lighthouse to arouse memories of the landscapes and seasons that I have experienced. Of course, in contrast to creating animals and birds, it was not easy to make the model expressive and enable its form to exude feeling.

However, as I conceived and worked on it, I thought about the solitary life of a warden who inhabits a lighthouse and the sea breezes that envelop it. Thus, I succeeded in transmitting, albeit through geometric structures, the sensations that a person may experience at viewing such a site.

INSTRUCTIONS After folding a square sheet of paper as in figure  1  , join the lines marked by the △ and □ symbols on both sides of the median AB.  2 

After making a valley fold, flip over to the other side.

Fold B in order to fix point E.  3  and fix line G.  2’

 4 

Fold B from line EF in order to

 5 

Making a mountain and a valley fold, make a crimp fold in A.

 6 

Flip over to the other side.

 6’

Open pocket A, folding to obtain figure  7  .

 7 

Flip over to the other side.

 7’

Folding in the direction of the arrows, raise A upright from behind.

 8 

Make a mountain and a valley fold in order to obtain figure  9  .

 9 

and  10  Fold in the direction of the arrows.

 11 

Lift A upwards and extend B.

Fold A inwards in the direction of the arrows, then fold B on both sides.   12 

and   14  Insert F in pocket E, then lift the roof again and shape the entire piece.   13 

 15 

The finished lighthouse.

CHILDREN FROM SNOWLAND 雪国のこども Here are some lively little figures of children in a mountain village that is buried under a thick blanket of snow. They are well bundled up against the cold in heavy, hooded coats and padded pants and with their legs tucked inside snowboots.

Once you have mastered the basic steps, you can have fun devising a variety of poses.

INSTRUCTIONS  1 

Fold a square sheet of paper to obtain the closed form of figure  2  .

 3 

Make fold 1, extend, then fold 2.

 3 

Fold C and D. Unfold  4  .

Make a crimp fold in C as in D, then reclose the fold. The position of valley fold 1 is the same as that of the fold in the upper part of figure   5 

 2  .  6 

Fold E.

After making the vertical fold, insert two fingers into the triangular pockets, following the direction of the arrows as in figure   8  , then open on both sides in such a way that corner E is extended and assumes the form of a square pocket as in figure   7 

 9  .  9 

Fold in the direction of the arrow

 10 

Fold C and D.

 11 

After folding downwards in the direction of the arrow, flip over.

Making a valley fold, unfold only the top upper layer in the direction of the arrow. The position of the valley fold line is the same as in fold 1 in figure  2  .  12 

 13 

Extend A and B to obtain the form of figure  14  .

Raise G upwards, and after making a mountain fold with A and B, unfold them, inverting them over E in the rear portion of F.   14 

Traditional hand-made Japanese paper, known as washi, is ideal for making these origami children. It is often fabricated by artisans in these same mountain villages that are covered with snow for much of the year. Every sheet is made with infinite care and love. If exposed to snow at the right moment, the pulp of a particular species of mulberry, kozo, can be turned into a paper that is free of impurities and capable of transmitting a sense of softness. Each fiber reflects light, which leads to an extremely elegant effect. The winter production of paper made with neri, a fluid extracted from a type of potato, is also of supreme quality. This translucent paper is used for shoji, the sliding screen doors in traditional Japanese homes, and is manufactured in the mountains of Nagano province. Treated with tannin and allowed to dry naturally, without sun, neri paper takes on the texture of fine, soft leather. If stretched out to dry in full sun, it will end up resembling the robust skin of a healthy youth. Hodomura paper, produced in the mountains of Tochigi province, is also made from pure mulberry fiber, but due to a special treatment it has the texture of a sturdy cotton fabric. At one time, it was reckoned at international exhibitions to be the best in the world. Treated with tannin, it becomes very much like leather, while the dyeing processes and proper use allow it to improve the features and performance of paper to the highest level.

 15 

Turn up the flaps marked with the ○ symbol on the left and right.

 16 

Pull A and B to obtain  17  .

Pull F, rounding it out, then fold it in half along the median, passing fold F through your fingers. Make a mountain fold in A and B to obtain figure  18  .  17 

 18 

Make a little crimp fold in A and in B, then fold D.

 19 

Fold B, raising the hand, then invert D inside the dotted line.

Fold the lower portion of B inwards to form the sleeve, then repeat the steps done with B and D with A and C.  20 

Fold the four flaps inwards in the direction of their respective arrows and shape the whole piece.   21 

 22 

The finished model.

PUPPY こいぬ

The models on this page were folded by Kiyo Yoshizawa, the Master’s wife.

When providing instructions for these origami, use some tricks to make the process more fun.

In figure  1  , the square sheet folded along the diagonal and set vertically recalls a seated animal. In this case, if the child is quite young, instead of asking what the figure resembles, sit next to him or her and together try to imagine a simple basic component that can be developed from the form. In figure   2  , the point on top can be compared to a head, such that in figures   3  and   4  the central part of the sheet will become the body and the right point the tail. If this approach is taken, the meaning of each part with respect to the whole will naturally fall into place.

By crumpling, then smoothing out the paper, or slightly tearing the edges with your fingertips, you can create the effect of a bristly hide. These origami figures can also be made with sheets that are not perfectly square, but rather irregular or rhomboid in shape. The symbol which indicates the finished model is not used here. Every figure can be considered a model in itself, a possible variant.

PART TWO

EASY ORIGAMI A Gallery of Creative Designs

A NOTE FROM THE AUTHOR I have taken the origami models in this gallery from my corpus of work, choosing those that are particularly suitable for children. Yet, they are not merely simplified forms meant for children. They also serve as the basic models of origami. Origami, as practiced up until now, has demanded mostly mechanical skill—taking a sheet of paper and executing a series of folds by joining corner to corner, edge to edge. My origami, in contrast, appeals to the creative freedom of the person who makes it. As long as that person correctly maintains the direction and number of folds, the precise matching of folds and lines can be relaxed in order to obtain results that express individuality and convey sensations and feelings. By learning how to modify folds and correct them in order to come up with a variety of shapes, children discover a beauty that is more animated and vibrant than the static origami of the past. As they increase their aptitude for science and logic, they will also develop their creative powers. It is important that the sheet of paper used is not be too stiff for the tiny, soft hands of a child. The ideal is a square with sides measuring between 5 and 6 inches (12 and 15 cm). If the paper is too large, the child will struggle to grasp it within his or her line of vision and will not be able to handle it easily. Once the child has learned to work with a small sheet of paper, he or she will have no problem progressing to a large sheet. Colored paper is nearly always required for the origami models and it is important that the sheets are of various types. By choosing shades that are appropriate for a particular subject, the child will become familiar with the basics of artistic creation.

Using the origami that has been created—to arrange, combine or play with—is of interest to everyone and a source of pleasure. It is a matter of expressing oneself freely by creating forms out of paper. This new compilation of origami has been enhanced by the addition of new models, some of which can be made in large sizes and have been greeted with enthusiasm by origami artists all over the world for their novelty and beauty. Our hope is that creative origami will be able to transcend time and space, overcome geographical borders and arouse ever greater passion.

Making a little bird or other animal in origami helps children appreciate the nature of living things. Legend Within the series of illustrations, some show enlarged details. This symbol indicates the finished model. In the case of multiple layers, the symbol denoting the fold appears only on the top layer.

Mountain fold: made by folding towards the back Valley fold: made by folding towards the front Fold forwards Fold backwards Flip over to the back

BIRD’S BEAK とりのくちばし

INSTRUCTIONS Shape the eyes with steps  6  ,  7  and  8  . You can also make the beak move  5  by holding it as shown in figure  9  .

DOG’S HEAD いぬのかお

These steps can be used to make the muzzles of different animals.

Turn up only イ, superimposing it over the mountain fold.

Make the head move by holding it as shown in figure  4  .

SMALL BIRDS ことり

TULIP チューリップ Make the flower, stem, leaves and vase with different colored paper. Assemble all the parts to create a lovely ornament. This flower is made solely with fold ホ in figure  2  .

The origami here has been attached to a sheet of drawing paper to make it stand upright. The vase is made from a rectangular sheet of paper slightly rounded. If you make lots of flowers and leaves, you can arrange them in a glass or small vase. THE FLOWER

To make the flower stand upright, round it out after inserting the stem. THE LEAF

THE STEM

Make the stem by cutting a square sheet in two equal parts and rolling up one of the halves with tiny folds. THE VASE

EMPEROR AND EMPRESS DOLLS おひなさま

Hinamatsuri (Girls’ Day or Dolls’ Day) is celebrated on the third day of the third month and is dedicated to girls or peach blossoms (momo no sekku). During this festival, people make paper dolls of the emperor and empress to display in their homes.

INSTRUCTIONS FOR THE EMPEROR  2 

Subdivide corner イ into three.

 3 

Fold, drawing it over the dotted line.

Fold, drawing it over the dotted line. Fold edge ハ to the back. Repeat the steps done with ハ in figures  2  and  3  with ニ.  4 

 5 

Flip over to the back.

 5’

Make a crimp fold in イ. Tuck ハ and ニ inside.

 6 

Complete イ by folding a tiny portion in the direction of the arrow.

 7 

The finished emperor doll.

INSTRUCTIONS FOR THE EMPEROR The empress is constructed by following the same steps as for the emperor, but by slightly reducing the width of the shoulders and shaping the head as shown in figures  8  ,  9  and  10  .  11 

The finished empress doll.

TADPOLE おたまじゃくし

INSTRUCTIONS Make each tadpoles from a small sheet of gray paper. After making a mountain fold, make an inside reverse fold between the two layers with ロ in order to obtain figure  3  . Then make a valley fold in the opposite direction in order to obtain figure  4  .  2 

After completing all the steps as far as tadpole to fill out its shape.

  5 

, insert a finger inside the

The tadpoles with legs are made by folding ハ and ニ in figure outwards.

  1 

SEESAW シーソー

THE SEESAW

Make the fold along diagonal イ ロ , then bring the two sides together. Folds ハ and ニ, ホ and ヘ balance each other and help distribute the weight equally between イand ロ.

THE CHILDREN Use a square sheet cut in half for each child.

Fold again along line between ハ and ニ.   4 

 7 

  2 

in order to soften the fold, then invert ロ

Repeat the steps with ハ and ニ.

CAPS ぼうし

INSTRUCTIONS  1 

Use a square sheet folded in half.

 5 

Open the interior. Joining ホ to ヘ, press down on the cap.

If you use a square sheet of paper approximately 20 x 20 in (50 x 50 cm), the cap will be wearable. You can adjust it to the size of your head by sliding valley folds 1 and 2 along in figure  1  .

Follow the steps in version 1 as far as figure  3  .  4 

Flip over to the back.

GOLDFISH きんぎょ

The rods in the photograph are willow wood chopsticks suspended on silk threads. Hang fish イ and ロ and the seaweed from rod 1 using thread, then identify point C so that the weight is distributed evenly on both sides and keeps the rod horizontal. Tie the rod with thread at this point to the end of rod 2. Identify point C on rod 2 as you did for rod 1, and tie a second thread here.

INSTRUCTIONS  5 

Superimposing ハ over ニ, fold them inwards between ホ and ヘ.

 6 

pull only layer ハ over to the dotted line.

Unfold ハ in the direction of the arrows, inverting the two flaps to the outside.  7’

You can make this version by transforming イ and ロ in figure pectoral fins.  9 

  4 

into

ELEPHANT ぞう

INSTRUCTIONS After folding a square sheet as shown in figure  1  , flip it over to the back.  3 

Flip over to the back.

 3’

Make a crimp fold in イ.

 5 

Slide the folds along, pulling them to the dotted line.

 6 

Slide イ to the dotted line.

FAMILY OF CRABS かに

After folding the sheet along the vertical axis, fold it along the horizontal one.

Holding the sheet by イ ハ and ニ ロ, unfold it in the opposite direction.

SNAIL ON A LEAF かたつむり

INSTRUCTIONS FOR THE SNAIL Use a sheet which is white on the reverse.  3 

Open pocket ロ to obtain figure  4  .

and   6  Making a mountain and a valley fold in ロ , insert the corners marked ▽ inside ■.   5 

 10 

Form a crimp fold at point イ, then fold in the direction of the arrow.

and  12  Form the body and foot by making an inside reverse fold in イ and ロ , starting from the dotted line, then raise the antenna. Finish by inflating the shell.  11 

If you keep the valley fold in figure   2  slightly to the left, side ロ (the foot) will stay smaller even without refolding it inwards as shown in figure  5  , while the body will stay larger. INSTRUCTIONS FOR THE LEAF To make the leaf, start with the tulip leaf’s elongated rhomboid form in figure  2  , page 164.

Make a valley fold along the median of   2  keeping an eye on the main side. Using two fingers, pinch the lower extremity from behind and invert it on one side.

CHRISTMAS TIME サンタクロース

SANTA'S SACK

SANTA CLAUS

INSTRUCTIONS FOR Fold a square sheet of red paper as shown in figure   1  , then make the folds in figure  2  . Figure   2  is the same shape, but inverted, as figure   7  in the crab on page 179.  7 

Fold ニ and イas you have done for ロ and ハ.

SANTA’S HAT

INSTRUCTIONS FOR SANTA’S HAT Use a sheet of red paper with white on the reverse.  2 

Fold along the median, bringing ハ to the back.

Fold ヘ towards the front and ト towards the back, then fold ハ and ニ layered on top of each other.  3 

 4 

pull イ to the dotted line, then fold two thin strips, one after the other.

Unfold チ and リ bringing ホ to the center in order to flatten out the model.  5 

 6 

Fold ハ and ニ upwards while opening チ and リ.

If you use a square sheet of paper about 20 x 20 in (50 x 50 cm), the cap will be big enough to be worn.

A SANTA CLAUS MASK

INSTRUCTIONS FOR THE SANTA CLAUS MASK Use a square sheet of paper with sides between 6 and 7 in (15 and 18 cm) long. Form the mouth by making folds ハ and ニ run in such a way that they lift ホ, then form the nose by lifting イ.  4 

Open ハ and ニ and attach the elastic bands as shown in figures  6  and  7  , then fold the corner inwards in the direction of the arrow as shown in figure  8  so that the elastic bands do not slip out.  5 

WATERLILY すいれん

The beauty of the waterlily will be enhanced if you use two superimposed sheets of different colored paper for the petals and sepals.

 2 

Flip over to the back.

 3 

Make it spin.

BIBLIOGRAPHY NOTE: entries are arranged chronologically. Atarashii origami geijutsu: Sakuhin to orikata dai isshu [Works and Folding Techniques: new Origami Art, vol. 1], Origami geijutsusha, 1954. Origami dokuhon [Origami Reader], Ryokuchisha, 1957. Origami tehon [Origami Handbook], Froebel-kan Co. Ltd., 1962. Tanoshii origami [Joyful Origami], Froebel kan Co. Ltd., 1963; kamakura shobo, 1978. Origami ehon [Origami picture Book], Froebel kan Co. Ltd. 1963; kamakura shobo, 1978, Origami dokuhon I [Origami Anthology, vol. 1], kamakura shobo, 1967 (republished in larger format with color plates from the original edition of Origami dokuhon, Ryokuchisha, 1957) and 1973. Creative Origami, kamakura shobo, ca. 1967 (english edition of Origami dokuhon I, kamakura shobo, 1967). Origami Volume 1. Fun with Paper Folding, Froebel kan Co. Ltd., 1969 (english edition of Tanoshii origami, Froebel kan Co. Ltd., 1963). Origami Volume 2. Fun with Paper Folding, Froebel kan Co. Ltd., 1969 (english edition of Origami ehon, Froebel kan Co. Ltd., 1963). Utsukushii origami [Beautiful Origami], kamakura shobo, 1974; nyusaiensusha, 2013. Yasashii origami [easy Origami], kamakura shobo, 1978; nyusaiensusha, 2005. Origami hakubutsushi I [Origami Museum, vol. 1], Dobutsu no iroiro [Animals], kamakura shobo, 1979. Origami hakubutsushi II [Origami Museum, vol. 2], kisetsu to gyoji [Seasons and Traditional Japanese events], kamakura shobo 1979 Haha to ko no tanoshii origami [Joyful Origami for Mother and Child], Uchi no hikari kyokai, 1979.

Sosaku origami [Creative Origami], nippon hoso kyokai, 1984. Yoshizawa Akira no tanoshii origami [The Joy of Akira Yoshizawa’s Origami], Shufunotomo, 1985 (to be distinguished from other volumes by Akira Yoshizawa with the title Tanoshii origami; this book is also known as the “koala Book” and an origami koala bear and cub appear on its cover). Origami dokuhon II [Origami Anthology, vol. 2], kamakura shobo, 1986; nyusaiensusha, 1998. Origami Museum, kamakura shobo 1987 (english edition of Origami hakubutsushi I, kamakura shobo, 1979, with an introduction by Lillian Oppenheimer and a brief biographical sketch of Akira Yoshizawa). Inochi yutaka no origami: sosaku origami sakuhinshu [Origami Full of Life: A Collection of Creative Origami], Sojusha Inc., 1996. Akira Yoshizawa—ORIGAMI (exhibition catalogue), Asahi shinbun, 1999. Origami sono uchu—Yoshizawa Akira. Kami, yadoru te [The Universe of Origami—Akira Yoshizawa. The Hands Where god Resides], kinokuniya shoten, 1997 (VHS) and 2007 (dVd). Commemorative Exhibitions Since Akira Yoshizawa’s death, his works have been exhibited in various museums around the world, including: Salzburg, Austria, 2005 Exhibition space inside Yūrindō Bookstore, Yokohama, 2006. Tikotin Museum of Japanese Art, Haifa, Israel, 2007–8. Tamozawa goyotei, Nikko, 2008. Sano Art Museum, Mishima, 2008, 2014. Japan Museum SieboldHuis, Leiden, The Netherlands, 2011 (on the centennial of his birth). Kaminokawa, Tochigi province, 2011 (on the centennial of his birth). Escuela Museo Origami Zaragoza, Zaragoza, Spain, 2014.

Origami penguins displayed at the exhibition Akira Yoshizawa: The World of Creative Origami, Sano Art Museum, Mishima, 2014. (See also front endpaper.)

ABOUT THE CONTRIBUTORS KIYO YOSHIZAWA Kiyo Yoshizawa married the Master in 1956 and became his manager. After her husband’s death in 2004, she worked on preserving and disseminating his legacy throughout the world, directing and supporting the International Origami Center with her constant activity, and passing down the artist’s original techniques, including wetfolding, one of his inventions. In recent years, she has organized various exhibitions abroad in order to help the public gain a better understanding of Yoshizawa’s works.

HIROKO ICHIYAMA After graduating from Yuhigaoka High School in 1956 and Roanoke College (VA, USA) in 1960, Hiroko Ichiyama studied at the University of Oslo in Norway. In 1961, she taught at the American School in Japan, and from there went on to become the editor responsible for Reader’s Digest (Far east edition) and afterwards the magazine’s Chief Assistant editor in Japan. She began collaborating with the Master in 1966, translating various of his writings, including Origami Museum: Animals, vol. 1, an english edition with models inspired by natural history.

ROBERT J. LANG Born in 1961, Robert J. Lang has been deeply involved in origami since the age of six when he discovered several instructions for traditional designs in a library book. This early beginning ignited a lifelong passion for the art. He is now considered one of the world’s leading origami artists, with hundreds of original creations to his credit as well as 14 books authored, co-authored, or edited on the art, numerous articles and instructions published in origami periodicals. He regularly lectures and

teaches origami at conventions and workshops around the world. He has a phd in Applied physics from Caltech, and has used his mathematical and engineering training to advance origami, both artistically and in its applications to science and technology. In his origami career, he has drawn upon many sources and influences, not least of which is the work of Yoshizawa-sensei. Yoshizawa’s techniques, both technical and artistic, played a major role in Lang’s own origami evolution, and he is honored to be able to contribute to this work of the Master.

KAZUO HAMADA Born in 1958 in the prefecture of Chiba, Kazuo Hamada graduated from the Tokyo School of photography and began freelancing in 1984. In 1990, he founded his own photography studio, and today he collaborates with Tokyo’s prestigious pacific press photo Agency. He won the 21st Japan’s Advertising photographers’ Association Award (ApA) and other important prizes. His works have been exhibited in many photography exhibitions in Japan and abroad.

ORNELLA CIVARDI Upon graduating in 1987 with a degree in Oriental Languages and Literature and a thesis on Japanese literature from the Ca’ Foscari University of Venice, Ornella Civardi obtained a one-year fellowship at the University Keio in Tokyo. She has translated and edited the writings of celebrated Japanese writers and poets, such as Yukio Mishima, Yasunari Kawabata, Junzaburo Nishiwaki, Yoko Ogawa, Ogai Mori and Ikkyu Sojun for various publishing houses. She has also written and edited works on Zen and the culture and history of Japanese art, including Iseki Masaaki’s book on Japanese painting, Pittura giapponese dal 1800 al 2000 (Skira, 2004). She won the 2005 Alcantara prize for her translation of Kawabata’s Palm-of-the-Hand Stories. All models were folded by the Master except those on pages 150–1, which were executed with the collaboration of Kiyo Yoshizawa and Tamiko Kikugawa.

PHOTOGRAPHIC CREDITS All photographs are by Kazuo Hamada except the following: p. 2: Yūrindō. pp. 19, top left, 36–7, 55, 69, 71, 85 and 121: private collection of kiyo Yoshizawa. p. 19, top right: Marco Tambara Lightversus, 1987 (its own property) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], Wikimedia Commons. p. 19, center right: Peter Engel, 1980; Peter Engel (Peter Engel) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], Wikimedia Commons. p. 19, bottom left: Robin Macey, 1987. p. 19, bottom right: Marco Tambara, 1990. The publisher has made every effort to trace the copyright holders of the images published in the present volume and is at the disposal of possible rightful claimants.

A selection of freeze-frames from the video: Akira Yoshizawa in his youth; his famous Cicada; the Master during a lesson abroad in the summer of 1972 with a foreign pupil; the artist in prayer before beginning to fold an origami.

VIDEO

THE UNIVERSE OF ORIGAMI—AKIRA YOSHIZAWA: THE HANDS WHERE GOD RESIDES Video can be downloaded with QR Code and link:

https://youtu.be/bgyEpyuPoQi This video is the property of KINOKUNIYA COMPANY LTD., Japan’s largest bookstore chain. The original, in VHS, was taped in 1997 in collaboration with the NIPPON ORIGAMI ASSOCIATION. A DVD edition with various additional materials was distributed in 2007. The documentary includes some original origami created by Akira Yoshizawa in the final years of his activity.

PHOTO/IMAGE CREDITS AND PERMISSIONS p. 8, Robert J. Lang: photo by Steven A. Heller, ©2008. p. 9, panel discussion, 1988: Courtesy of OrigamiUSA. p. 10, Yoshizawa and young fan: photo diane Lang, courtesy of the photographer. p. 11, Yoshizawa’s notebook: photo by Akira Yoshizawa, courtesy of Mrs kiyo Yoshizawa. p. 12 center, Yoshizawa’s plan: drawing by Robert J. Lang.

p. 12 below, collapsed base: photos by Akira Yoshizawa, courtesy of Mrs kiyo Yoshizawa. p. 13 top, Yoshizawa’s Cicada: photo by Akira Yoshizawa, courtesy of Mrs kiyo Yoshizawa. p. 13 center, Unfolded/refolded base: drawing by Robert J. Lang. Portions of the essay on pp. 8–13 appeared in “google’s doodle: Akira Yoshizawa”, http://www.langorigami.com/articles/yoshizawa_doodle/yoshizawa_doodle .php, by Robert J. Lang, © 2012, used here with permission. I would like to thank Laura Rozenberg for access to Gershon Legman’s archives, Marcio Noguchi and Marcello Bertinetti for communications assistance in preparing the essay, Vanessa Gould (Green Fuse Films) and Hiroyuki Kano (Kinokuniya) for assistance in tracking down documentary reference material and, of course, Mrs Kiyo Yoshizawa for permission to use the images of Yoshizawa-sensei’s work.

THE PUBLISHER WISHES TO THANK Mario Tauchi, Literary Agent of Owls Agency, Tokyo, for making possible our collaboration with kiyo Yoshizawa (www.owlsagency.com); Robert L. kirschenbaum, president and founder of pacific press Service Tokyo, for help with obtaining exclusive photographs of Akira Yoshizawa’s origami; pacific press Service, Tokyo, for organizing photo shoots by kazuo Hamada (www.ppsimages.com); Robert J. Lang for his important technical contribution to the production of this book; Francesco decio and Vanda Battaglia for their expert advice on the art of origami; Hiroko Ichiyama, Tamiko kikugawa, Mila Montevecchi Bertinetti and diana Bertinetti for their invaluable collaboration in the publishing process; Renzo parini, president of Fotomec Torino, for the care with which he created the files needed to print this work; editorial director: Federica Romagnoli; Art director and graphic designer: Clara Zanotti.

Published in 2016 by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. www.tuttlepublishing.com Original edition: Akira Yoshizawa Origami d’exception © 2015 Nuinui www.nuinui.ch Nuinui is an imprint of Snake SA, Switzerland All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic, mechanical, including photocopying, recording or by any information storage retrieval system, without prior permission of the publisher. Editorial director: Federica Romagnoli Art director and graphic design: Clara Zanotti Editorial assistant: Diana Bertinetti Translation from Japanese to Italian: Ornella Civardi Translation from Italian to English: Irina Oryshkevich Editorial coordinators in Japan: Yuki Ishikawa, Miki Okahara and Mario Tauchi ISBN 978-4-8053-1393-0; ISBN 978-1-4629-1871-3 (ebook) English Translation © 2016 Periplus Editions (Hk) Ltd. Distributed by North America, Latin America & Europe Tuttle Publishing 364 Innovation Drive, North Clarendon, VT 05759-9436 U.S.A. Tel: (802) 773-8930; Fax: (802) 773-6993 [email protected]; www.tuttlepublishing.com Japan Tuttle Publishing Yaekari Building, 3rd Floor, 5-4-12 Osaki, Shinagawa-ku, Tokyo 141 0032 Tel: (81) 3 5437-0171; Fax: (81) 3 5437-0755 [email protected]; www.tuttle.co.jp

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