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This kit contains everything you need to make beautiful origami pieces.

There is still plenty


of room for variation and expressing your creativity. Trying out different sized papers and
different colors or patterns will yield very different results. For that matter, you do not even
have to confine yourself to paper. If you can fold it, it can be used for origami. Some
origami artists prefer to use fine handmade papers, or at least papers made with extra long
fibers. You can even paint your paper (watered down acrylic paint is a common paper
colorant). Materials that are too flimsy can be made stiffer by applying a solution of methyl
cellulose (the main ingredient in many wallpaper pastes). After such a treatment, most
papers respond even better to a technique known as wet folding. Slightly dampening any
paper causes the fibers to relax, and once dry it will hold its new shape.
Origami artists will share their ideas at conventions and group meetings. OrigamiUSA
(http://origamiusa.org) maintains a list of origami organizations around the world, along
with local groups in America. Contacting the international organizations will often uncover
smaller regional groups. The Internet has a few hubs to exchange ideas. You can subscribe
to the mailing list found at lists.digitalorigami.com. Mail can be sent to the members of the
list (once subscribed) via origami@lists.digitalorigami.com. You can also go to the bulletin
board at snkhan.co.uk/forum. I also maintain a website at sakuraorigami.com. With the
various resources mentioned above, you are bound to find the origami answers you are
looking for.

Marc Kirschenbaum is a leading American origami artist who has been active in the art
form since the 1970s. He has covered a wide range of subject matter and styles with
approaches ranging from the cleverly simple to the insanely complex. His works have been
shown in many museums and shows around the world, including the American Museum of
Natural History, The Smithsonian, Mingei International Museum, and Hangar-7. He has
also had his works published in many books, magazines and periodicals. Marc is also an
active member of OrigamiUSA, a premiere international origami organization. He is
currently on the Board of Directors, and manages the production of many of this
organization’s publications.

Creative Origami Booklet cover.indd 2


CREATIVE
ORIGAMI KIT
Marc Kirschenbaum

T UT T L E Publishing
Tokyo Rutland, Vermont Singapore

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Contents
Introduction 4

Origami Symbols & Terminology 6

Pureland Fish
P 8

Pureland Sailboat 10

Pureland Horse
P 12

Pureland Person 15

Simple Ladybug 18

Pureland
P Platypus 21

Pleated Turtle
P 24

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Simple Panda 27

Perching Parrot 31

Fold-up Feline
F 35

The Doctor’s Dog 40

Pureland Ship in a Bottle 45

Homage to Picasso 50

Paper Pachyderm 55

Pureland Eagle 60

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How to Download the Bonus Material of this Book.

1. You must have an internet connection.

2. Click the link below or copy paste the URL to your


web browser.

http://www.tuttlepublishing.com/creative-origami-kit-
downloadable-cd-content

For support email us at info@tuttlepublishing.com.


Introduction

Art is the expression of ideas through a medium, and origami chal-


lenges the artist with its stringent rules. These rules, of simply folding
squares of paper, are not to be thought of as limitations of expres-
sion. Instead, they provide the artist with an opportunity to distill
and highlight the features of his subject. The works in this book were
developed with the additional rule of brevity. In developing these
pieces, it was satisfying to see how a direct approach with fewer
folds was often the best way.
A few of the works contained here were developed with yet
another self-imposed rule. Most origami pieces involve maneuvers
that involve both valley and mountain folds happening simultane-
ously. Valley fold is just the origami terminology for folding your
paper in a concave fashion, while mountain fold refers to the convex
approach. Even beginner origami practitioners soon realize that the
two types of folds are effectively the same, albeit a mountain fold
requires the paper to be turned over first. The question of why both
types of folds are needed is answered with the more advanced se-
quences that
involve the
simultaneous
collapsing of a
series of moun-
tain and valley
folds. John
Smith of England

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pioneered an approach he
called Pureland, which
requires an origami piece to
just use simple valley and
mountain folds. You can see
that fairly sophisticated results
can be obtained in pieces like
the Pureland Eagle and Pure-
land Ship in a Bottle, using the
simplest of folding techniques.
The folding sequences are
exceptionally easy, making the
results even more magical.
At the other end of the spectrum is Homage to Picasso, which is all
about achieving a certain look. Picasso, who purportedly dabbled in
origami, is famous for his Cubist approach. In Cubism, multiple
perspectives of a subject are expressed simultaneously, and such an
approach is a rarity in origami. Before designing Homage to Picasso,
I studied many of Picasso’s pieces, and the result is a model that repre-
sents an amalgamation of various images.
The rest of the models are of some common (and some not too
common) subjects. They all were created using the path not com-
monly taken, so you are certain to have a fun folding experience.
Using the included papers, you can have attractive results. Of course
you can experiment using your own materials, and even adjust some
of the folds to your own personal taste. Enjoy!

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Origami Symbols
and Terminology

Valley Fold Mountain Fold

Crease Hidden / X-Ray

Arrows

Fold Forward Fold Behind

Fold and Unfold Sink / Push In

Turn Over Rotate

Unsink / Pull Out

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Maneuvers

Inside Reverse Fold Outside Reverse Fold

Crimp

Squash
Rabbit Ear

Petal Fold Sink

Closed Sink Sink Triangularly

Pleat Swivel

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Pureland Fish
The British origami artist Paul Jackson takes pleasure in challenging
people to devise origami pieces with a minimal number of folds. This fish
was a response to one of those challenges. In spite of being simple, it is
distinctive for featuring a mouth. The offset starting point affects all of
the subsequent folds, making for an unusual folding sequence.

1
2

Valley fold the left corner


to the right so the
Begin with the primary indicated points meet.
display color facing
down. Make a slightly
offset valley fold.

3
Edge A Edge B 4

Valley fold the top layer Valley fold the top flap
to the left along its angle over to the left so it meets
bisector. Edge B will meet the cluster of edges.
edge A.

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5 6

Turn over and


rotate slightly. The completed Pureland Fish.

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Pureland Sailboat
This boat was created for an informal design challenge at one of the
OrigamiUSA annual conventions. The idea was simple, but it was
important that the folding sequence would be easy to replicate. Having
asymmetrical sails adds a lot of character to this very emblematic model.

1 2

Begin with the sail color Valley fold the left


facing down. Pinch the corner to the pinch
top edge in half. you just made.
3 5
4

Turn over. Open out all of


the folds.
6 Valley fold to the
intersection of 7
edges.

Valley fold up to meet the crease Valley fold up to


from step 4, and then unfold. meet the last crease.

10

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8 9

Turn over. Valley fold over, to lie along the


horizontal crease from step 6.

10

Valley fold over, so that


the right edge almost
meets the other sail.

11

The completed Pureland


Sailboat.

11

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Pureland Horse
This minimalist piece only uses simple valley and mountaini ffolds.
ld F Fel-
l
low origami artist Paul Jackson inspired it. The “flipping” type of fold
in step 8 might feel new to novice folders. When properly balanced, this
horse will stand.

Begin with the primary


display color facing down.
Valley fold in half along the
diagonal.

2 3

Fold along the angle bisector Valley fold the tip in about ¹⁄6th the
by bringing the left side of the length of the crease just formed.
top flap to the right. Unfold.

12

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4 5

Valley fold along the exist-


ing crease by bringing the
entire model over to the left.
Valley fold the top
layer up, so that the
left edge becomes
horizontal.

6
8
7

Valley fold the


tip to the lower Valley fold, while
corner. allowing the tail
Turn over.
to come to the
surface.

13

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9 10

Turn over. Mountain fold the head


behind. There are no refer-
ence points for this fold.

11

The completed Pureland


Horse.

14

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Pureland Person
The president of the British Origami Society set forth a challenge
h ll tto
design a simple person in origami, and this piece took the top honors.
The simplicity was achieved through the exclusive use of valley folds and
mountain folds. This Pureland approach was popularized by John Smith
of England, so it was fitting method to use for a UK-based contest.

Begin with the display color


side facing down. Valley fold
in half. Unfold.

2 3

Valley fold the sides to the


Mountain fold the bottom corners. center, allowing the back
flaps to flip outward.

15

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4
6
5

Valley fold up as
far as possible.
Valley fold the top
Mountain fold
section down.
the sides.

9
7 8

Valley fold the side Mountain fold


Mountain fold, allow- the top flap.
flaps in to meet in
ing the top flaps to
the center.
flip outward.

10 12
11

Mountain fold the Swing the back flap


top edges. up as far as possible.
Mountain fold the
inside edges.

16

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13 14

Mountain fold the tip The completed Pureland


behind. Person.

17

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Simple Ladybug
The ladybug has such a distinctive look that the addition of superfluous
appendages like legs might distract from its color pattern. For this model,
much of the effort is in creating the spots that lie along the wings. You
might notice that these spots are formed from sizable flaps. This is to
allow these spots to reach the middle portion of the wings.

2
1

Begin with the primary Inside reverse


display color side facing fold the four
down. Fold in half in both corners.
directions. Unfold. Valley
fold the sides in to meet at
the center.

3 4

Squash fold the


Spread out the top by folding down while top flaps.
reaching in and opening up the paper in
the back. Swivel up the flaps at the bottom
by reaching in and lifting the inside layer.

18

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6
5 7

Valley fold the tip of


Valley fold the the top flap down.
bottom tip up.
Valley fold the single
top layers outward.

8 9

Unfold the fold


made in step 6. Fold back up while folding
in the sides. Look to the
next diagram for the shape.

10 12
11

Pull down as far


as possible. Make valley folds.

Valley fold and pre-crease where


indicated. Note from the symbols
which folds are also unfolded.

19

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13 15
14

The completed
Make squash folds.
Simple Ladybug.

Round model with


mountain folds.

20

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Pureland Platypus
Many of the folds here have unusual reference points to give the end
result a more organic look. For instance, the folds in step 15 do not meet
at the center. The final folds are similar to standard inside reverse folds,
except that they are opened out to make the finished model three-dimen-
sional. This model was inspired by a challenge posed by Robert Stack.

With the primary display color facing


down, fold both ways. Unfold.

2 3

Turn over. Fold the four corners to


the center (blintz).

4 5

Turn over. Valley fold the sides to the


center, allowing the flaps from
behind to swing forward.
21

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6 8
7

Valley fold
down.

Perform an operation sim-


ilar to the previous step.
Valley fold up. 11
9
10

Valley fold the side


Swing down. flaps to the center.

Turn over.

12 14
13

Edge A

Turn over. Valley fold. Repeat


Bring edge A to steps 13–14 on the
the center. left side.

22

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15
16

Valley fold four times.

17
Turn over.

18

Push inward where indicated The completed Pureland Platypus.


to shape the legs.

23

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Pleated Turtle
Turtles work well in origami because their shape sits nicely on a square.
There is so much symmetry that it’s important to make sure all of the
appendages have a distinctive look. The head and the tail are made in a
similar fashion, but slightly altering the folds makes it clear which part
is the front. Spreading out the pleats in the legs gives this model a nice
dimension.

1 2

Begin with the display Valley fold the four


color side facing up. corners to the center.
Mountain fold in half.
Unfold.

3 4 5

Turn over. Valley fold the bottom


Valley fold the top
edges to the center,
edges to the center,
allowing the flaps from
allowing the flaps
behind to flip forward.
from behind to flip
forward.

24

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6 7 8

Valley fold the flap Valley fold the top


down to lie against to the indicated
the bottom edge. intersection.
Valley fold the bottom corner
to the indicated intersection.
10
9

Valley fold along the


angle bisectors. Unfold. Valley fold up through the
indicated intersections.

11 12

Swivel the sides inward. Bring the bottom flap up.

13 14

Fold along the angle bisector.


Unfold. Valley fold down through
the indicated intersections.

25

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15 16

Swivel the sides inward. Pleat the four flaps inward.

17 18

The completed Pleated Turtle.


Turn over.

26

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Simple Panda
In spite of the complex color pattern on this model, this is one of the
easier pieces to fold. Only mountain folds and valley folds are used.
Step 4 defines the angle of both the head and the body. It is important
that the body gets a little wider at the bottom to give the model a feeling
of weight. The folds for the head are left for last, so you can have the
features magically appear from a single flap.

1 2

Begin with the darker color Fold the top corner


side facing down. Fold the to the center. Unfold.
diagonals. Unfold.

3 5
4

Valley fold to
the last crease. Turn over.
Valley fold, so the
corners hit the
center crease.

27

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6 8
7

Valley fold along the


Fold in half. existing crease.

Valley fold to
the last crease.

9 10

Mountain fold the Valley fold along the


corners in slightly. existing crease.

11 12

Mountain fold on the left Unfold.


and right, following the
angle of the top edges.

28

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13 15
14

Mountain fold
Valley fold the top flaps the sides.
in, noting the indicated
Valley fold the top
intersections.
section back down.

16 18
17

Swing down the top


Valley fold the back flap.
flaps outward.

Mountain fold the


protruding corners.

19 20

Form a valley fold a lit- Valley fold down.


tle bit below the crease.

29

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21 22

Valley fold up. Pull the sides out The completed Simple Panda.
slightly so the model will stand.

30

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Perching Parrot
Although this model is flat, the thickness of the layers adds enough
volume to give this bird dimension. A gentle pull on the wings will make
the three-dimensionality even more pronounced. The folds for the head
are not landmarked, and slight variations in the angles of the folds can
impart a lot of character to your model.

Begin with the primary display


color side facing up. Fold in half
along the diagonal. Unfold.
2
3

Rabbit ear the top section.

Valley fold in half.

Mountain fold the sides to lie against


the center crease on the back.
31

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5 7
6

Squash the center


Lift the top layers up to
flap down.
Turn over. reveal the hidden flap.

8 10
9

Rabbit ear the


flap and flatten. Reverse fold Mountain
the sides. fold in half.

11
12

Squash fold.

Outside reverse fold.

32

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13 14
15 12-14

Squash fold the flap Mountain fold


asymmetrically. the corners. Repeat steps
12–14 behind.
16 17

Pull out the single


Outside reverse fold,
layers from inside
so the indicated
the flap.
points meet.
18
19
20

Inside reverse
fold the top
Inside reverse Slide the trapped
flap.
fold. paper out and flatten.

33

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21

Outside reverse fold.

22

Inside reverse fold and


rotate the model slightly.
ly.

23

The completed
Perching Parrot.

34

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Fold-up Feline
Cats are among the toughest subjects to capture in origami. This model
is in a crouched pose that is unique to felines. Keeping the form simple
highlights this. The crimp on the hind legs (step 23) adds additional
volume to the body. It is important not to extend this fold to the top
edge to allow for the spine to spread flat. There are more curved folds
in the face, adding even more dimension.

Begin with the display color side


facing down. Form a fish base by
folding each of the folds shown.

2 3

Fold halfway. Unfold. Squash, using the existing


creases as a guide.

6
4 5

Valley fold the top Undo the side reverse folds. Swivel the raw edges
layer to the right. to the creases.

35

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7 8

Fold along the angle


Inside reverse fold the sides bisectors. Unfold.
back in.

9 10

Valley fold all of the layers through Pull the single layer
the intersection of creases. around to the surface.

11 12

Swing the single layer Valley fold the raw edges


back to the right. to the creases, allowing a
squash to form.

13 14

Fold, while avoiding creas- Lightly fold the model in half.


ing the center. Unfold.

36

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15 17 Edge A

Inside reverse fold the cor-


16
ner to the tips of the feet. Inside reverse fold,
so edge A lies at 90
degrees.
Petal fold the tail up.

18 19

Edge B

Inside reverse fold, so


edge B lies at 90 degrees.

Lightly fold. Unfold.


20
21

Inside reverse fold. Outside reverse fold.

22 23

Crimp the legs forward.


Pull out a single layer
from both sides.
37

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24 25

Lightly swing the


Tuck the front legs into the single layers over.
pocket in the back legs.

26 27

Spread apart the layers of


Valley fold along
the head, allowing it to
the neck.
become convex.

28 29

Pleat the bottom


of the head. Inside reverse fold
the inner corners.

30 31

Mountain fold the bottom


The completed Fold-up
flap up inside the head.
Feline.

38

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39

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The Doctor’s Dog
The mechanical sidekick of a famous British science-fiction character in-
spired this dog. In particular, the way the legs are fused together and the
way the neck is articulated are loosely based on this well-known canine.
People have tried to guess the breed of this particular mutt, but in fact
no particular pedigree is implied. This piece simply suggests some of my
favorite elements of dogs I have seen.

Begin with the primary


display color side down.
Form a fish base.
2 4
3
Valley fold halfway.
Unfold.
Valley fold the
Squash, using the existing top layer.
creases as a guide.

5 6

Lightly fold the top Fold the top and bottom cor-
flaps inward. ners in, as indicated. Unfold.

40

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7 9
8
Fold the top
flaps back out. Fold lightly. Unfold.

Turn over.

10
11

Form a crease between


Fold at the halfway mark. the last two creases.
Unfold.

13
12

Rabbit ear to lie


along the last crease.

Fold the top point


14 down. Unfold.

Fold corner-to-corner. Unfold.

41

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15 17
16

Form a crease between Fold along the


the two creases. folded edge. Unfold.

Valley fold to
the last crease.
18 20
19

Unfold. Mountain fold


Lightly mountain
the sides along the exist-
fold in half.
ing creases.
Mountain fold, avoid-
ing creasing the center.
Unfold.
21

Outside reverse fold the head.


Inside reverse fold the tail.

42

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22 24
23
Crease A

Pull out the single layers.


Petal fold the tail.
Pull out more paper,
25 so the resulting edge
Outside reverse fold
the nose.
meets crease A.

27
26

Crimp the hind legs. Tuck the front legs


into the pocket in
Pull the front legs down.
28 the back legs.

29 30

Sink the front.

Inside reverse fold the Crimp the ears over


hidden corner down. the body.

31
Squash the top and
spread apart the sides.
Do not crease sharply.

43

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32 34

33
Crimp the head down
to define the ears.

The completed
Doctor’s Dog.

Twist the head to the side


and round the body to taste.

44

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Pureland Ship in a
Bottle
Although the folds in this model are very simple (just valley and moun-
tain folds), the reference points used were a major challenge to locate.
They are also a bit of a challenge to fold, as good accuracy is needed to
fold some of the more acute angles depicted. It was important to create
a boat that did not touch the edges of the bottle and rested evenly
within it. One of the surprises at the end of the sequence is how the
neck of the bottle gets rotated ninety degrees.

Begin with the bottle color


facing up. Valley fold in
2 half.

3
4

Valley fold along


the angle bisector.

Valley fold along


the angle bisector.
Swing the flap over.

45

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5 6 2-5
7

Valley fold along Repeat steps 2–5 behind. Open out along
the angle bisector. the center.

9
8 10

Fold the top corner


Swing the top left down to the indicated Fold the top corner down
flap to the right. point. Unfold. Open the to the crease just made.
top flap to the left. Unfold.

11
12

Fold the top corner down Valley fold up.


to the crease just made.

46

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13 14

Swing up. Valley fold back over.

15 16

Flip the tiny flap Close up of the tip.


over from behind.

17
19
18

Fold and unfold.


Valley fold the top flap
over along the center.

Valley fold the two flaps


over to meet the edge.

47

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20 21 22

Valley fold down.


Fold and Valley fold toward
unfold. the crease.

24 25
23

Swing the top flap up.


Swing the flap down.
Valley fold at the indi-
cated halfway point.

26 27 28

Valley fold the flap Valley fold the flap


Valley fold up. in half. back down.

48

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29 30 31

Mountain fold a little bit Pinch the sides at Mountain fold the bot-
above the boat’s sail. the halfway points. tom corners to match
the upper edges.

32 33

The completed Pure-


land Ship in a Bottle.
Fold the bottom flap
toward the right.

49

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Homage to Picasso
As a big fan of Picasso’s work, creating an origami tribute to him was a
fun artistic challenge. This piece is loosely based on elements of the mas-
ter’s portrait artwork. A survey was taken from various books on his
works, and I drew a distillation of these images. The folding sequence
is asymmetrical of course, given the idiosyncratic reference material.
Supposedly Picasso himself dabbled in origami, making this homage
all the more fitting.

1 2

Begin with the hair color Pinch the lower


side facing down. Mountain half in half.
fold. Unfold.
3 5
4

Valley fold, corner


Turn over. Valley fold to the inter-
to the pinch.
section of raw edges.

6 7 8

Unfold completely. Partially fold in half, Valley fold at the intersection of


diagonally. Unfold. the creases made in steps 5 and 7.

50

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9 11
10

Open out the bottom


Valley fold down along Valley fold up to meet
flap.
the existing crease. the hidden edge.

12 14
13

Valley fold along the Mountain fold along


existing crease. the raw edge of the
Fold in half. Unfold.
top flap.

15 16

Valley fold. Squash fold.

51

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18
17

Turn over.
Valley fold along the angle
bisector.

20
19

Inside reverse fold.

Valley fold.
23
22
21

Mountain fold.

Valley fold down.

Squash fold.

52

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24 26
25

Inside reverse fold.


Mountain fold.
Valley fold in about
27 ¹⁄6th the width of
the flap.

28
29

Valley fold over.

Valley fold the left


corner, and mountain
fold the right corner. Valley fold the indi-
cated corners equally.
30
31

Mountain fold the


indicated flap.

Mountain fold the


corner.

53

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32
33
34

Mountain fold. Note


that part of the fold
Valley fold the corner.
is hidden.
Make the flap 3-D with
a curved mountain fold. The completed
Homage to Picasso.

54

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Paper Pachyderm
The American Museum of Natural History has a tradition of distributing
origami pieces for its origami tree lighting ceremony. This elephant was
devised for that occasion. Step 12 contains a key maneuver, where unlike
most origami sequences, the edges do not align. This allows for the tusks to
poke through. The extraneous paper gets cleaned up in the final sequence.

Begin with the tusk color side


facing up. Fold in half. Unfold.

2
3 4

Valley fold the Fold by bringing the


sides to the center. top point to the noted
Valley fold up.
intersection. Unfold.
5

Valley fold the corners


outward. The raw edges
should hit the last crease.

55

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6 7 8

Make a pinch by folding


corner to corner. Unfold.

Unfold the
bottom corner. Valley fold the bottom
corner to the top point.

9 10 11

Valley fold the top


flap down by bring-
ing the indicated
points together. Swing the top
Turn over. section down.

13 14
12

Valley fold the inner Flip the back


flaps outward as far flap upward.
as possible. Valley fold the top
corner to the indicated
intersection.

56

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15
17
16

Edge A
Edge B

Valley fold up through


the indicated intersection.
Valley fold, so
edge A meets edge B.
Valley fold in half.

18
20
19

Valley fold the edge


over to meet the
indicated point.

Unfold the two flaps.


Unfold.

21 23
22

Valley fold the bottom


Form a pleat using the edges up to meet the
existing creases. indicated points.
Valley fold the raw edges
over, allowing squashes
to form at the bottom.

57

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24 25

Valley fold in half.


Inside reverse fold along
the existing crease.

27
26 28

Outside reverse fold.

Inside reverse fold along


Tuck the corner of the
the existing crease.
tail underneath the
hind leg.

30
29 31
1/4

Mountain fold along


Tusk the existing crease. 28-30

Repeat steps 28–30 be-


Valley fold the white flap
hind. Rotate the model.
up, reversing through
where the tusk is.
58

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32 34
33

The completed Paper


Pachyderm.
Inside reverse fold. Shorten the trunk with
an inside reverse fold.

59

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Pureland Eagle
Significant life events are often strongly linked to an origami model I am
working on. This eagle was devised while I was waiting for my brother
to be discharged from the hospital after an altercation with a stranger
on the street. Both my brother and the origami came out of the hospital
looking great. This is yet another piece that uses the Pureland (valley
folds and mountain folds only) approach popularized by John Smith of
England. Astute folders might notice that some of the sequences mimic
more complex folds like inside reverse folds and swivel folds. This eagle
also got some exposure when it was shown on a Japanese morning news
television program.

1 2

Begin with the wing Valley fold the


color side facing up. sides to the center.
Fold in half. Unfold.

3 4 5

Valley fold the Open out the Valley fold the corner
wing-colored trian- model completely. up to the existing crease.
gle up.

60

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6 7 8

Valley fold the lower


Valley fold along Turn over. edges to the center.
the existing crease.

9 10 11

Turn over. Valley fold the sides to the center. Valley fold the
Parts of these folds are hidden top corner down.
by the bottom white pocket.

12 14
13 15

Valley fold the Turn over.


corner up.

Swing the flap Lightly fold the


upward. top layer over.

61

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16
17
18

Valley fold the top flap


over to the other side.
Valley fold the flap along
19 the existing crease.
Valley fold to
the center.

20 21

Valley fold the raw edge


over to the center.

22 Turn over.
Valley fold down as
far as possible. Part
of the fold is hidden.
23
24

Valley fold the edge


back up to the top.

Turn over.

Valley fold the


top flap over.
62

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25
15-24 26 27

Repeat steps 15–24 on the Valley fold the


right half of the model. Flip the wing-colored sides to the center.
section at the top.
28
29
30

Valley fold through the


intersection indicated
by the dot. Valley fold, noting the
points indicated by the dots.
31 Valley fold the wing-
colored flaps down. Parts

32 of these folds are hidden.

Edge B
Edge A 33

Turn over.

Valley fold, so edge A


is parallel to edge B.
Valley fold the
head section over.

63

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34 35

Mountain fold the top and The completed Pureland


bottom corners to taste. Eagle.

64

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Published in 2016 by Tuttle Publishing, Distributed by
an imprint of Periplus Editions (HK) Ltd. North America, Latin America & Europe
Tuttle Publishing
www.tuttlepublishing.com 364 Innovation Drive, North Clarendon,
VT 05759-9436 U.S.A.
Original edition: Origami in un Istante © Tel: (802) 773-8930; Fax: (802) 773-6993
2014 Nuinui info@tuttlepublishing.com
www.nuinui.ch www.tuttlepublishing.com
Nuinui is an imprint of Snake SA,
Switzerland Japan
Tuttle Publishing
All rights reserved. No part of this publica- Yaekari Building, 3rd Floor, 5-4-12 Osaki,
tion may be reproduced or utilized in any Shinagawa-ku, Tokyo 141 0032
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including photocopying, recording or by any sales@tuttle.co.jp; www.tuttle.co.jp
information storage retrieval system,
without prior permission of the publisher. Asia Pacific
Berkeley Books Pte. Ltd.
Editorial director: Federica Romagnoli 61 Tai Seng Avenue #02-12, Singapore 534167
Art director and graphic design: Clara Zanotti Tel: (65) 6280-1330; Fax: (65) 6280-6290
Editorial assistant: Diana Bertinetti inquiries@periplus.com.sg; www.periplus.com

ISBN 978-0-8048-4542-7 Printed in Hong Kong 1511EP


19 18 17 16 6 5 4 3 2 1
English Translation © 2016 Periplus Editions
(HK) Ltd. TUTTLE PUBLISHING® is a registered trade-
mark of Tuttle Publishing, a division of Periplus
Editions (HK) Ltd.

About Tuttle
“Books to Span the East and West”

Our core mission at Tuttle Publishing is to create books which bring people together one page at a
time. Tuttle was founded in 1832 in the small New England town of Rutland, Vermont (USA). Our
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10/1/15 2:56 PM