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Compilado por urijenny para e:wagos

La imagen de la portada es la fotografa de tma versin del modelo de la Rata de EricJoisel.

Contenido:
Presentacin
Modelos de animales de Eric Joisel

_
_
_
_

_
_

Rat
Chat
Coq - Rooster
Aberdeen
Dogs
Hedgehog
Snail
Pangolin
Goldfish
3Dmanchot
Fancy swan
Dragon
Horse head
Seahorse
Shell
Turtle
Rhinoceros
Bu lis

Presentacin
Esta recopilacin incluye todos los modelos de papiroflexia de animales de Eric
Joisel que he encontrado en la web. Muchos incluyen el diagrama, algunos el
borrador de cp, y otros slo algunas fotografas de los modelos.
Este booklet fonna parte del Eric Joisel's companion que me estoy haciendo con

los materiales que se encuentro en la web y la infonnacin del libro: "Eric


Joisel: The magician of origami"

Jorge Luis urijenny

Rat

LO)iWI'MJ::JaY -t/ 1- 0-JVt\:O)J.iliHBHtl.'<'?


t.llf!flt-n-rfl!lr.~q,,;vd.on'f.

l!ll<fl5f0)

mfiiJ.~IY1i.ZIEO)~}J~"tliAI.>t.:fJ'?t;.O)"r"to

1 produce this model accidentally. when 1


study many differem ~ unfold s" from john
Montroll. 1 was trying at this lime to increase
my gcometrical aptitudes.

~7.'~ / Rat.2008

i'lilt : ~iiii~.!F-/ Ownef: Eiko Ma1S<Ua

l.'*~fo !IDI.'Jl~"r~9o

The joke with this RAT is that 1created it with


a CP VERY CLOSE to the next cat.

RAT
Aspa
" Peau d'lphar t 1generaly use
flnlshlng then " 135 gr 30 to 50
thTakes a lot
wet foldlng cm
e numburous 1 mlns to press
ayers of the body

o~~~~ln

Repeat 14 & 19
on the right.

Fold down flap B


Only the head would be drawn
in the following steps

~
~
Fold down flap C.
Repeat 2~ to 23
on the nght.

11- r:<t to ~

ea-- 250'1', wn't it ?

~
~
Modeling the head.

~
~
Modeling the ears.

(D ,
Putear in 30

Foot mount~~old .

t~eeR:!~ ~11 be.drawn

on:~ the following steps.

The RAT finished.

CREASE PATTERN : The dark gray parts indicates the paper seen in the final model : it's a vary
small surface when comparad to the initial square. This is bacause half of the initial square is
dedicatad to the long and tiny tail. This enormous "lose of papar" is rare in my models.

Chat

<DEl\:: Joisel maiS2007.


Ced~gramme n'est pctSt~ dtaillco ncerMnt

la finition. etsupposedooc un tx>n nfveau


de lectun? de d~gramme .
Avoird~ pi~ mon ratserait bien.
Un caflI de $O cm est un minimum pet~r un
m<:.:delageacceptab~. le m~uxse~aitde pl~r

~ mcdE?~ dftnitifen

'wet-foljing".

,,
'' ''

''

'

''

'

'~~
\/
\ /(

/~~'
'
'\

'l.

\/

Patte
AV

Patte
AR

~rquer

cespl5.

11

Abl isser los panos Pll.


~tmarq~rc~ p1i.L:usagfl
deABCestexpiQu pge4.

16 Ap~savoirabliss
P- tffing~A.col~psera?s
plisval~eet m C!ltag"' . ~

24

Modeilgefinal :

O ~'Pilles : rPmersE~X~~ur.
Yeux : ouvrir. Dos : ~mfoncer.
Pkds : ressottir les paisseurs.

QUELQUIS SlmiST~S PC<JRAMELalERLE MCO aE :


Petit pleat (pli:zg-zcq) !DUS: k-$ pattesAV, ~urrao:nun::ir un p:ou leoorps.
et powoir mP.uKc ~u9?r P. OOs.
Etape 11, AOC : lediagramm?P. plus bgi:ueet l?p lus:~apdeaur.~itetdehire

P. plienA, rmis P-s pattesARsont abrs un peucourtes. Utilt:.er P. pli C 9?rait


pos;iblea~a\~des patte>sARercorep lus: bngu:>S. mais: urecourtequeue
Dansunchat mJins ilyaurade lgnesd10ites. me~~~tcesera!
Obser.ter~chats.

P.sairrer.~ irdi~ens.able

Sice n'est pasvotrec<G, hites plutmdutri:ot !

pourbP.n P.s pfer..

Coq (Rooster)

ctll;l:filli~J!J:I;*illb'G~X./Hl!ntd!.lc
t;tJ$L.,~.<'(f.~"V"t, 8H'fiffif1T~t.P&O)n0)1i!

,f;;Jil"t', l'R~IiHi'I'I-\'>-:>;I;~ICfi!!HHJ'o
6i~9i;9;.0)f"f.,~b'~~:..tt-~f~t.:t..on:-<to

This i s one o f my rare mode l


conceptualized with a traditional base:
blinrz frog base+ a reserve of paper al!
around, to produce added feathers and
toes. lnspired by different models by
Yoshizawa-sensei.

li.!I / Roostef.1995

RooS1Cf, 2008

Hi.e : CJ(-t- J 7:.-~/ 0wneo': Rober!J.LMe

Cr~ate

by Eric Joisel in 1995.


W1th a square of paper size
6Dx60 cm, your model w ill
measure 16 cm
The best is metallic )aper
lf yo u have not, take a paper
strong and very thin

o~~
,'

,'

'\.

FOOT

......

1 ~6e

------~1{~------:re ~r'x
''
'
'

~:
'''

FEATHER

FEATHER

THE ROOSTER UNFOLD


a classical base with a points
and the center . The grey strip is to
made the fingers, the lower beak
and a 5e feather.

'

1/16

'''
''
'
,L::- ------&-------J''

1/16e

.~
J
o
Fold like a preliminary base

Fold the first


flap up

Squash-fold. Only
the little square will be
drawn in steps 20-23.
Turn the first layer.
Repeat steps 19-23
on the right

Repeat stepe 19-24


on the first flap.

Reverse-fold the leg


(flap with a little square)

Only the leg will be drawn


in the following steps.

Fold carrefully
the foot up
Three-dimensional step
Steps 36-37 will be
seen by the right

Repeat
steps 27-39
on the left.

Aabbit-ear.

Cnmping-fold
all the layers.

5 Aeverse- . :
folds. Begin with E
and f1 nish with A.

E
5 Aeverse-folds
Begin with A.

5 Reverse-folds.
Fold E a little lower
than D, and so on ...

The tail is finished.

Mountain-fold
the first layer.

~~

,f>
:
1

Outside reverse
told flap B.

...
e

Reverse-fold
flaps B and C

}~~

Model the eyes.

~~"'""~
~

Model the comb.

coq variante

4 enfoncements

ouverts,
chacunsur
diffrentes

couches.

Ajouter des plis


dans les ailes

Pour suggrer

les plumes.

Cette variante

(tapes 41 -42)
permet de crer

des plumes
sur le co u et
les ail es.

Coq en wet-foldlng
avecun paplertralt
au mthylcellulose

Aberdeen

ABERDEEN
Variation from traditional - EJ 2002
1was interesting trying to cteate
something new with an old traditional.
A 30 cm square from Canson papar 180 gr
wet-folding could be a good choice.
Start from the fish base.

' B

...::...._-,-----,-------,----,-"'" o
Open-sink along the line AB.
This ls onJy possible ff you sink
the comer C at the same time.

Tail and ears:


outside reversa folds.
Nose: inside reversa fold.
Nose and tall :
inside reversa folds.

A
V

Swivel-fold for the neck.


Repeat behind.

Profile ...::::::

..

Nose : inside reversa fold.


Mouth: outside reversa fold.
Next step would be seen from top.

...

1- -!- -,- -:- -,L -,'- -,L -,L


,

'

-,L

..... t-+-t-+-1-+--11-+--1--i
,:::.... -- -- - - -- --

1:

1 ;

1 ;

J--1 ...:::::::: ~.;.. b- ,. - - ~ - - -- -~,..,_ .. _ '... _ --\

\.-

~-

_..._

Form 30 eyes using


the indicate creases.

i: ,..!-1f-t,.,.
7)
1 .,. /4pP'f 1
' '
-:' ~',-i'' 1~~,-~s;~--,_ ,- '
1

..lat

'

,L- r -

<C

'--

'

r-

'

- - '.-

.-'' ,.-' ,-''


-;--- 'r'

~-

'

'

r- r-

,-

r-

'

r- ,-

'
'

1
~-

r- ,_ ,_ , _ :- 1'-

li1;
""'!)

Procrease. glue to form a cyllndE>', then collapse.

Take care that this type of model is not


so easy that it seems to realise... lf you
wants a quiet exact copy of mine, dozens
of first tries are required before attempt a
wet- folding one. 1 expect you wil enjoy
this 'only 12 steps' li<e dog. instead of
torture a poor innocent paper during
many hours. lf you really needs more
complexa and numburous creases , try
lhe street lamp (lwist-fold of a cylinder).
Your Aberdeen will certainly enjoy it 1

Dogs

~}

\
.A} \)-J.:
......,_ .. lS:J' .... L S

.l

Q.c-

Hedgehog

"Hedgehog"
creator - Eric Joisel (France)
Difficulty: *******__ _
Maximum score: 10 points

Paper : 40-50 g/m2


For size of square: 40-40 cm
Length of the model: 9,5 cm
Time to fo]d: 5-6 hours

* This model join into the tasks of Olympiad in memory of the greatest master
of origami. Al! information in this diagram is taken from the Eric Joisel website:
www .ericjoisel.com/

1 ---~---...
1
1
1
1
1

--4------+-1
1

1
1

---t------"-t--

4 ......,.,... ""+...,--~.,. . ,;-....,.-+...,-

_.,....+-""-+...,
- _.,...,j--

-~-

.......
1

1
1

--~-

......
'

--~--

'
'

'
'

--'

'
'

------+-----1
1
1
1
1
1

____._____,JI

....__

5 :: :~::~::~::~::;:::H:::HI~I~I~I~::;:::;:
-:f l-~-->--.
. --.i.--*-.C.--.i---i: : :C. --.:i - --i---i---i---i---i---i
: : : : : : : : : : :

tr +--~- - - -~- -- -~ - i + + - ~- --

ff- _::: :t: ::~:: :t: ::~:: :;:


f~f.
J~ :t:. .:t: :t: ::t:: :t
.. .
. . . .
.

......

''
'

J.

'

''
''

'
''

''
''

L 4

--r- --~-- t --!-- -~-- --~-- -1-1

'

1\

make 16-16 grid


make 32 -32 grid

12
1/51/;:
1/5[:/;

1Q

~;;;

;;;

[):;:/;

repeat 68 for blue point

repeat 611 for red and pur ple points

zoom size of squar e

. ,

;v'

. ):: HJ:t:):

H'
::.-:.

#f?p;
:::sbf::

r.:.:
i:>::

)::

m ake d1agon al creases

........

~)

repeat 14 for all parts

step 1

repeat 16 for alllayers

~-

...... ~>-.

t pa;~~
rep eat ste p 1-2 for nex

..........~

repeat steps 1-2 twice behind

full line - the mountain


dotted line - the valley

38

repeat 39-40 for all


needles in the band

repeat 40 twice
r epeat 39-41 to the left

repeat 44-45 to the right

Snail

Ctt!i!i;lii)O)li.O)*

~ O)fiilfWtt.\l!,C',"9, !ili'if.~l<l;li:tH;I ril!;'t l.- e J

fht' f1ii;t.1:9, Ghlf)~''Oitll\l llH"l: ft ~, Gf,O)-:,


1 lhink this is my first ~real" creation. Technically. it's an "EASY
WIN." as using a long rect.angle and box-pleating technique.

"SNAIL"
AUTHOR ERIC JOISEL

DIA6RAM BY ANDREY ERMAKOV


11

\\

head+
top body,

sh, ll1= 150A

1. Shell
A

e)

~
2) top body + head
head
a) 1

b)

U2
lopbody

d)

model completad

down corpse+
tail

Pangolin

In tke case of my p.1ngolin W1, the


idea stayed quietly in my mind for 3
years. 1 had at this time no solutions
for it. Tken one morning. 1said,
"That'sit!' ...andaweeklater,itwas
done.
W3 is the one in the photo created
froma1)o--cm5qu are.
Fina\ size:height So-<m;length4o--

. *"t & tf1 .


o

d*#M W"Mi i' i"''

The

p~npin

is ~ of my most

simple models (yes., yes) in terms of


cooception: fold 2 COfners tothe

centerofthesqu.,re, tl'le-nmk.e
mny crosse'<l ph~ts to form 3 Ot' 400
o;hapesfrom different sizes.A& f
become heold & tail , B-C-0-E of
cour5ethe4legs.
Then, put thissort ofpangolin'ssl::in
in 3D and ...... 1forma p11ngolin with

pleatsandcrimps. Th!foldsare not


exi!Ct,justanidta,ar'ldare
improvisedeverymodel, N"]forthis
one. Everyoneisdifferent, forthe
materialWtkraftwet-folding- N"2
S<~ndwich+acrylk-thisonein

bamboolkozo 90 grams methyl

celluloseandwetfolding. Thegridis
alsore-ealculat!d,forexampleinW]
the 'return-back' ofeveryshape is
bigger. Thismeansmoreloosepaper,
butalsomoremovementpossibh!
intotheilnimal.

t.::Ml,f.l.SI;t.:-:>""(l,.a::1"o 1-:Jai)O)Jll~~~~

r.ll't, 7-/M<:~tl.-,-. 'f O)J:J<I!:;t


o-nr:lf;t.tl!'l't. o>l<'fO)J:I<t.? ' &O)
11\t.t~J~' -rruJ;!fr~~<:t.I:'->J:?~<: 'lil>*"f'
'f? 1.--r. 3~!0)11\tl;f:, t.l:t.l:il'->lfr~ll1
l!t;?~<:lEfiil<lfr<>O)'l'9.

Each desig n consists of 2 origami


mo s tl y s imil ar. The workers
completely unfold the firsL one. and
lo ck it stro ngly on a table. Then
they pul Lhe nat piece of clolh of the
client. then as 3rd !ayer, rhe second
origami completely unfolded [00.
P126 ' fr.Mb'it"lri/lf 1JlliH:::riiJMJ J:IJ
From ""f'lis.sC Anis&ns" Skllls and Origaml"

prend le

Le

pli

I.:origami est !'un des secrets de la haute couture. A Paris, des mtisans far;onnent des
tissus prcieux a partir de cartoJ1S savamment plis. Visite de l'atelieJ:
En vuyant dambuler les manne- plls, dont certains ont pres par le cart.on. l..e schage va- prferent les rafistoler au
quins des dern iers dlils de

d'un siOCie: il en compte plus

hautecouwre, qui pourraitcro..

de 3000, tous diffrents.

re qJederri:re les multlples plis


qui d01mentdu volume aux n:r

Ces canons servent de maules,


aussi appels mtiers .Les
toffes sont tendues entre
deux feuilles pralablement
pliesselon le motifdsir. Puis
chaque pli est referm et com-

bes,dynamisentlesco~embe l-

lis.sent les manches... se cache


l'art popu\aire de la cocoue
en papier?
L'origami, an du pliage qui mele

pact a la main pour bien fixer

cue l'eru.1 et le tissu est tig ..


jusqu'au prochai.n lavage ou la
prochalne averse !
Le carton, tul, rslste. Mais de
moins en moins vaillamment,
semble-t.-11. Touc/tez-nwi. ya,
invite un ouvrier. Ce vieux car-

Scotch pluttque les refaire.

ton est bien plus souple que le

pas facile. Et faut smtout


que les deuxfeuiUes s'embof-

nouveau. ll se mam:e mieux..


Aujourdhui, il.s sont plus mi-

" Celui-ci 1n'a pris presque


tmis semaines de travail , tmoigne Liliane Lebou\e, responsable de l'atelier, en dsignam.
l'un de ses modeles fantalsi e
trs couru. Le dessin n'est
te~1t

bien ..., complete Grard

admirablement gomtrle ma-

les formes. L'ensemble est en-

thmatique et fantaisi e esthtique, est. I'w1 des secrets de la

des, se dtchent. et. dunmt.


nwins longlemps. Dans l'ate-

Lognon. Il fautquedeux carl<ms se parlent, dtaille poti-

mode. 1but commence avec de

suite enroul et sangl sur un


cylindre ou bien li a la ficelle
sur des bouts de bois avant

d'tre pass durantenviron une


heure dans une tuve a 100 oc.
La vapeur trave rse le carton,
mouil\e les flbres qui peuvent
ainsl se dplacer et s'arranger
dru1s la structure impose

Jier, certalns mt!ers rallss


rcemme.nt ne duremque deux

que ment un autre employ.

savanrs pliages de papiers plus


ou moins rigides. Dru1s son ate!ier parisien, Grard l.ognon,
plisseur comme son grand-pre,
accumule l'w1e des plus impa rtantes co llectlons de cart.ons

Du plat peuvent smt.ir des


pymmides ou des fleurs. ,.
Mais au final, c'est le tissu qui
ont plus de clnquante ans ..
Heureusement, car fabriquer commande. Le moti! dwt on
des mtiers esL un travall dli- n%e ne rnarche pas toujou.rs "
cat A tel point que les ouvriers

8joute Grard Lognon.

SC IENCES ET AVENIR- AOT 2007

a trois ans alors que d'autres

Liliane Leboule, responsable de l'attlier


de Grard Lognon, Paris, prpare
un pliss soleil aYec un empkly grice
deux feuilles de carton ptplies.

Co mme pour appuyer son patron, Lillane Leboule montre Wl


joli motifcr pour l'atelier par
llll des maitres japonals de 1
'origam i, Yoshlhide Momotani
(voirSciencesetAvenirn.0 71-4,
aofll2()(}(J). Hlas! trop dure tt
raliser, la fleur imagine par
l'artiste rest.era de papier.
Le plissage est. vralment difficlle et lev lcl a un art, comme
en t.moig:ne l'un des meilleurs
origa.mist.es fran~ais, Eric Joisel. J'ai tni.s prtls de deu.x senunes an!ati.ser ce pangolin.
Je ne sm:s mme pa.s s-flrde savoir le rejai?-e , rappelle-t-ll
avec, ala maln , une reprsentation de ]'animal saislssante
de ralisme. J'ai ddcouve-rt

Grard Lognon prsente quelques-unesdes ralisations de son atelier.

aprls-coup que la base de ce


pliage tait comme des plisseurs depuis l011gtemps. Les
plieurs n'on.t rien invent!,
s'amuse-t-il. Un autre origamiste, Jean-Claude Correia, a utilis le meme motif3.cai.lles pour
des ceuvres plus abstraites.
Thutes les formes de plis ou
presque som possibles. Les
classiQUes, en acco rdon, ou
bien les tres sages plisplats. 11 y
aaussi les plisss soleil qui, partant d'un mme point, se dplient en demi-cercle ou quart
de cercle. Ou encare les clebres plis Watteau, hrits du
xvnl" siecle : Cr pour une
actrice dtfsireuse de cacher sa
grossesse, le vtement

AOT 2007 SCIENCES ET AVENIR

PATRIMOINE
quiWsafaitconnatre

Les gestes du mtier

voquait un p!?U une robe de


chambn;, mais it a eu du suc-

ces

~.

rappelle F'lorence Mller,

historienne

a ]']nstitut franr;ais

de lamode.
Comme pour pouvoir travailler
une centaine de pieces par jour
pendant la priode de dflls
de mode parisiens, la maison
Lognon est.surtoutc!ebre pour

sa fabuleuse collection de plis


fantaisie. Certai:ns sont piqus
de perle pour faire natre des

motifs creux. D'autres crent


l'illusion d'un tissu tress.
D'autres encare dgagent une
incroyable profondeur quancl
des pointes de diamant. sem-

Les plls peuvent i!tr e aussl

compacts et malntenus ~ plat gr!lce


tldes bouts de bois lls pardes
flcelles avantde pa sser 3 1'tuve.

blent sortirdes toffes. Pour les


motifs les plus complexes, les
ouvriers vriflent a la main le
bon qjustement sur chaque pli
Et suivent les modes.
Autour de 1830, les plisss
u1yaux d'orgue sont du demier
cri. Puis, au dbutdu xx siecle,
le crateur vnitien Mariano
F'ort:uny d pose w1 brevet pour
la robe Delphos: ses plis lui
d01ment wt mouvement novateur. Dans les annes 1920, la
mode sportive transtere les plis
desjupes des joueuses de tennis vers les tailleurs sur l'impulsion de Coco ChaneletdeJean
Patou . Apres guerre, la mode
new-look de Christian Dior relance le p\i. Enfm, au dbut des
rumes 1990, \e Japonais lssey
Miyake lance son Pleats please,
tm pli ralisable en grrutde srie
sur des machines. '' Aujou-rd'hui, le pliss est tres utis
dans lemouvem.enl de dconstrnction du vtement djendu
par les coles japonaise, bdge
ou lwllandaise , prcise Flo-

renceMller
Cette vogue acruelle ne peut
tour..efois pas cacher ou enrayer
le dclin de la profession.
" Dans l'annuait-e pmjession-

nel, nous smnmcs moins de dix


en Pmnce, quand nous tions
une cinquantaine il y a dix
ans , tmoigne Marie-Christi-

ne Renard, directrice de l'entreprise Les Plisss de France, rare


socit a faire de la production
en traditionnel a Saint-Coulomb, en llle-t-Vilaine. Le march de la mode tant cyclique,
les perspectives sont fragiles
SCIENCES ET AVENIR AOT 2007

:_. ,

~~1-'--

,.

Apr!s l'tuvage et le schaged'tne JOL.me environ, l'assemblage de cartonsest wvert, dvollant lile loff e parfaltement
pllsse. En prlode de dfil s, pkJsletn dlzahesde piOC:escp.~ltteflt cet atelier poli' ceux desgrands cwtu"lers.

lorsque pointent. la mcanisat.ion (mais seulemem pour


quelques plis particuliers) et la
oonOJrrence trangre.

Difficile, mal connu, le mtier


de plisseur est aussi quasiment
sans mmoire crite, sans rormation. On apprend sur le 1aset
les motifs ne sont pas archivs
J'a i des modeles dontje me
demande mene quoi s pouvaient servir! tmoigne Eli-

sabeth Olivier, une coutu r~re,


installe elle aussi en Bretagne,
et qui vient de rache ter les mtiers d'tm plisseur voisin qu~ lui,
a jet l'xmge. Diles bien que
leplissage existe encore! llfaut

transmellh'! ce mitier , enjoignent ~ l'unisson les deux plisseuses bret01mes. A Paris, Grard Lognon va prendre sa
retraite mais aurait trouv des
successeur& En attendant, 11 a
rait don de quelques-uns de ses
mtiersau musedu Louvre. La
relve serair.elle assure?
David larousserie
Photos : Bernard Martinez
pour Sciences et Avenir
Lognon (entre ses malos,
cl-dessus). Dew:semalnes
detravall ont t

ncessalres pour cette


pleceL.nlque.

Grard Logoon. 9, rue DanielleCasanova. 75001Paris,

tH : 01.42.61.43.36.
LesPiisssdeFrance, Bel Event,
35350 Saint.Coulomb,
tl. : 02.99.89.00.96
Arts'mode, ElisabethOtivier. zone
artisanale Keranna, 29360 Cloharscarnot, tL , 02.98.71.61.07
O wwwericjoisel.com

2001 SCIENCES ET AVENIR

Goldfish

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;tS 2

GoldFish1.2004
Owroel': Ga11ery Orisami House

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Gold Fish 2, 2004

Ril1 : i!Ji/IIK-:J o-:SeiJiNishikawa

Eric Joisel - Ma1 2003

2 inside reverse folds


(see figure 5').

Tile inside reverse of tlle tail


is complexe to realise
because of the layers.

4 open sinks.

CD

Body insid
as far as ~ssibl: reverse fold
. Repeat behind.

12: ~ountain fold.


t va!ley folds
o reduce the tail
(see 14 & 15) .

Use existing creases.


Repeat behind.

Open-sink the back fin .


At the same time, unsink
the middle layers of the head .

3D manchot

3DMANCHOT
A"le ! Exercice sur les tri-section s d'angles et
exprimentation de box-pleatin g angulaire ...
Eric Joisel 2008

Lger renvers
pour faire
ten ir debout.

MANCHOT 1/ 1

Tenir fermement en A & B,


et enfoncer le coin C.
Puis raplatir le ventre .

Fancy swan

Fancy Swan

oitticultvlevel:s

by frie Joisel
Th is is probably the most challenging model in the whole book. Finishing the model is your first
goal; then you can focus on making it graceful and beautiful. The diagrams he re (adaptad from th e
creator's originals) show th e method but not the artwork of the piece. To begin with, use a large
square, at least 12 inches across.

2. Fold the left cerner to the


center, make a small pinch
mark, and un fo ld.

1. Start with the colored


side up, with a cerner
towa rd you. Crease ilnd
unfold both diagonals.

Turn the pape r over.

3. Fold the right corncr to the pinch


mark. Crease right across, and
unfold. Turn the paper over.

1
1
1

4. Usin g the two existing


creases, form a pleat.

5. Fold the colo red edges on the


left to lay on the horizontal ce nter. crease, and unfold.
6. Fold the sama edges to meet

the most recent creases.

12. Reversa lhe neck u


far as it will go.
p as

11 . Foldthesides ofthe
mg a small flap u nd neck in half, tuck

so the paper lies flater;eath at the top,


. epeat behind .

10. Precrease and .


verse the t
mside re
ong narrow flap.

9. Fold in half from

~~"m

8. Fo ld the Ion
to the vertic~l oulside edges
the papel' over~enter. Turn

7. Fo ld in again usin
.
creases. Turn the 9 ex1sting
paper over.

13. Separate the layers at the base of


the neck to release the wing flaps,

14. Make an inside reverse fold.

15. Make an outside reverse fold.

'
16.

17.

Pulloutthewhitepaperandroun~~
...

layers from the beak. keeping the


top end as it is, if you can. Reverse
down the center flap of the tail.

~-

18. Form the beak with a doubl e


reverse fold. Aeverse the tail
back up slightly.

21. Shape the neck with subtle curved creases.


Forma series of crimps on the wings to give
the appearance of feathers.

20. Shape the body by swiveling


paper inside on both sides.

19. Wrap the inside edges to shape the tail.

Dragon

DrtuJon
Eric Joisel is world-renowned for his expressive and artistic paper
sculptures, but he's also a master of the classic bases. He uses the
slightly obscure blintzed fish base in this model.
A blintz base reduces the working area by hall, so use a larger square.
This model has a number of subtle techniques, such as the crimp in
step 19 and the formation of the nose in step 20- persevere with
these to feel more in control of them. You can practise techniques
like these by using a separate sheet and only folding the relevant area
of the model; for example, you could practise step 15 on a kite base.
Try foldin g a blintzed kite base and see if yo u can design anything
new- many wonderful new creations are discovered by adapting
existing designs. (Remember to credit your inspiration if yo u produce diagrams.)
l. Start with a square, white side up. Book-fold in hall both ways.
2. Blintz all corners and turn the paper over.
3. Fold both left edges to the horizontal centre, all owing fl aps
to flip from behind.
4. lnside reverse the fl aps on the right, again allowing fl aps to
flip from behind.
5. This is known as a blintzed fish base.
6. Turn the paper over and crease two diagonals.
7. Collapse the sides down (as you would with a preliminary
base).
8. Swing the upper flap on the right over to the left, repeating
underneath. A minor miracle!
9. Petal fold the top flap (as you would with a bird base).
10. Repeat underneath .
11. Swapthe fl aps over again.
12. Fold the white corners over, then tuck underneath the first
layer. Repeat behind.
13. lnside reverse the upper left flap to the dotted pos ition.
14. lnside reverse the tail , but toa more tail-like angle.
15. Outside reverse the head downwards.

16. Narrow the tail by folding the upper edges inside as far as
you can. The fold extends to the end ofthe dotted line.
17. This is the result. Time to focus on the head.
18. Make a double reverse fold to form the snout of the beast.
19. Hold the head firmly and make an outside crimp on both
sides.
20. Fold the nose over to taste.
21. Stand well back in case yo u get scorched .

11

1
_ _ _ 1_ _
1
1

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Horse head

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Tlle model uses an ~easy winM: recrangle about


2 by 3, and box-plea Ling technique. Again, a
not very good ralio.

Seahorse

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This is typical of my work: an extremc ly
simp le concept ion (F ISH BASE variation).
but extremely difficuh to rea lize. This is one
of my ~ru\ly closed moder when finished .
so that you need to realize every step in the
proper arder, worki ng outside and inside,
befare closing it completely.

:):J.I:ti-:.-::1/ Sc!n:lfsc, t996


Owner: RobeftJ. la18

Jfi8:CJ(-I--J 7/~

77:7-'r~'T / A Rough Sketch

Shell

>l<ft / Shell.2002

~~J.mmi!ID / Shell CP

Drawins

tor Another Shell

Turtle

t1tfk"t?{IJ!btl"(I,.' :J:"to

1 created this Turtle after 6 months' studying of Fujimoto-sensei's book.


lm ponant techniques from him are used atlhe center of the shel l.

Rhino (Rhinoceros)

Bulls