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Avion en papier


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

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


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Kent du Pre has Mon Bateau De Papier Jean Humenry done such work on Symmetric figures such as stars from which flowers can be folded. Irregular figures have appeared occasionally, but the most extreme form only occurs in Paper Miracle with Rolf Harris's models. Silhouettes have no restrictions in the Origami sense and are of course closely related to paper trimming. In its simplest form cuts are made before to folding in a symmetric and planned way which will 'open up' the material available without the need for excessive thickness. The most recent mention of the techniques is by Toshie Takahama who refers to it as Kirikomi and distinguishes it as typical of very early Japanese Origami.

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


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Within a corner of the Livelihood Industry Pavilion at EXPO', electricity was used to make Origami pigeons argument their wings. Modelling It is now usual in animal folds to call for a final modeling particularly if foil has recently been used and one can make certain of the substance remaining in place. A contemporary example of this is in Pat Crawford's models. Neal Elias who probably led the move in the West to 3D insists on any modelling following the folding The technique of wetting the paper is apparently Japanese in origin was demonstrated by Yoshizawa at a Convention in Luton. Another method of damp moulding using paste in the preparation is discussed by Alice Gray the lady was shown it by Yoshizawa during a visit to Japan. The retracts tend to be soft and are approaching figurine rather than Origami.


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


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In the most extreme mixtures of water and paper Avion En Papier we are, naturally , in the world of papier-mache which is evidently an open-ended art. DecoratingThe easiest step from a single coloring is one side female and one white or plain. A great package of modern Origami uses this colour difference. A new delightful example is Joan Homewood's Robin. We can use the texture of our material which need not even be evade or paper. Neal Elias collects patterned foil and has shown models in 3 colours which depend after choosing the right pattern and cutting his material to get the colour exactly where he wants them. A more restricted form of decoration occurs in Japanese papers
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which are already printed with a design suited to a unique model. The end of this process is evidently the decoration of the final model and therefore into the decorative art proper which is open-ended. Lengthening Simply by stretching our square we obtain rectangles then bow and finally string.




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