Table Of Content

001-184_30780.indd 1 6/25/13 2:54 PM 001-184_30780.indd 1 ((RRAAYY)) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::11 HOW THE BUG WARS CHANGED THE ART OF ORIGAMI Introduction by Sherry Gerstein Illustrations by Marcio Noguchi With bug models created by: SEBASTIAN ARELLANO SHUKI KATO MARC KIRSCHENBAUM JASON KU ROBERT J. LANG WON PARK DAN ROBINSON 001-184_30780.indd 3 6/25/13 2:54 PM JJoobb::0066--3300778800 TTiittllee:: OOrriiggaammii MMaasstteerrss BBuuggss 001-184_30780.indd 3 ((RRAAYY)) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::22 ##117755 DDTTPP::222288 PPaaggee::33 The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper . . . –Pablo Picasso 001-184_30780.indd 5 6/25/13 2:54 PM JJoobb::0066--3300778800 TTiittllee:: OOrriiggaammii MMaasstteerrss BBuuggss 001-184_30780.indd 5 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::44 ##117755 DDTTPP::222288 PPaaggee::55 conTenTS Introduction . . . . . . . . . . . . . . . . . 8 Terms and Symbols . . . . . . . . . . . . 14 The Projects . . . . . . . . . . . . . . . . . . 17 Won Park . . . . . . . . . . . . . . . . . . . 18 Flapping Dollar Butterfly . . . . 19 Dollar Dragonfly . . . . . . . . . . . 23 Sebastian Arellano . . . . . . . . . . . 28 Bed Bug . . . . . . . . . . . . . . . . . . 29 Praying Mantis . . . . . . . . . . . . . 36 Marc Kirschenbaum . . . . . . . . . . . . 46 Mosquito . . . . . . . . . . . . . . . . . . 47 Ladybug . . . . . . . . . . . . . . . . . . 55 001-184_30780.indd 6 6/25/13 3:48 PM 001-184_30780.indd 6 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::66 Daniel Robinson . . . . . . . . . . . . . 70 Leaf Insect . . . . . . . . . . . . . . . 71 Jason Ku . . . . . . . . . . . . . . . . . . . 82 Rhinoceros Beetle . . . . . . . . . . 83 Luna Moth . . . . . . . . . . . . . . . . . 99 Shuki Kato . . . . . . . . . . . . . . . . 122 Titan Beetle . . . . . . . . . . . . . 123 Flying Hercules Beetle . . . . . . . 141 Robert J . Lang . . . . . . . . . . . . . . 162 Yellow Jacket, opus 624 . . . . . 163 The crease Patterns . . . . . . . . . . 176 About the Illustrator . . . . . . . . 183 credits and Acknowledgements . . 184 001-184_30780.indd 7 6/25/13 3:48 PM JJoobb::0066--3300778800 TTiittllee:: OOrriiggaammii MMaasstteerrss BBuuggss 001-184_30780.indd 7 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::66 ##117755 DDTTPP::222288 PPaaggee::77 cockroach.tmd5 5 11 scale = 0.1385 4 13 79 1p4os-xy 80 1p2os-e paired 23 active 20 12 13 11 same 22 77 1.0000+8% 0.6000+20% 1.0000+8% 64 active+f THe Bug WARS What can you make with a single piece of paper? Scissors can’t be used, nor can glue. It’s just you, the piece of paper, and the shapes you 11 136 120 make by folding it. So how far can you take it? 21 same This was essentially the question posed by the informal competition between expert 3 10 paper folders in the 1990s. That competition, which has come to be known as “The Bug 10 Wars,” was an expression of the discovery process and an exploration of technique by paired 9pos-e the most experienced folders, once they found themselves liberated from the traditional underpinnings of the ancient art of origami. The discovery that it was possible to create a 10 model with several legs—like an insect, for instance—quite simply transformed origami. 72 85 60 26 0.6000-4% 9 8 same 135 0.7500+20% 15 121 0.7500+20% 25 active active+f 8 137 139 122 119 24 active 44 34 7 0.6000-20% Until the middle of the 20th century, all origami models were derived from just a few standard base patterns. 5 134 118 19 6 5 same 1.0000+10% 1.0000+10% 4 0.3000+21% 7 2 12 7 18 1pos-s paired 12 6pos-e 17 1 active+f 1.9214+12% 2 8 Origami Masters: Bugs 001-184_30780.indd 8 6/25/13 3:13 PM 001-184_30780.indd 8 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::88 14 16 9 18 20 5 3 ac1t0iv4e sam1e4 activ2e 2 13active+f 1.5000+12% 0.6000+31% 1.5000+12% 6 1 13 4 102 1p5os-xypaired 8 103 3pos-e active cockroach.tmd5 5 11 scale = 0.1385 4 13 79 1p4os-xy 80 1p2os-e paired 23 active 20 12 13 11 same 22 77 1.0000+8% 0.6000+20% 1.0000+8% 64 active+f It sounds like a crazy notion because these days, complex origami models—intricately folded paper interpretations of just about everything, from spine-studded sea urchins to a complete cuckoo clock—abound. 11 Even though origami is an ancient art, it remained pretty much 136 120 unchanged until the midd2le1 of the 20th century. Models were fairly simple, and all were derived from a few standard base patterns. same 3 10 That began to change when Japan’s Akira Yoshizawa developed a system of diagrams and 10 paired 9pos-e symbols that allowed for the encoding of origami instructions. Considered the father of modern origami and a prolific creator of new, original models, Yoshizawa wrote books in the 1940s and 1950s that showed how to fold each step. Suddenly, a craft that had been an 10 72 85 oral tradition6 s0hared by a few could be documented…and shared by many. 26 0.6000-4% 9 8 same 135 0.7500+20% 15 121 0.7500+20% 25 Akira Yoshizawa, active active+f called by many 8 the father of modern origami 137 139 122 119 24 active 44 34 7 0.6000-20% 5 134 118 19 6 5 same 1.0000+10% 1.0000+10% 4 0.3000+21% 7 2 12 7 18 1pos-s paired 12 6pos-e 17 1 active+f 1.9214+12% 2 Introduction 9 001-184_30780.indd 9 6/25/13 3:13 PM JJoobb::0066--3300778800 TTiittllee:: OOrriiggaammii MMaasstteerrss BBuuggss 001-184_30780.indd 9 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::88 ##117755 DDTTPP::222288 PPaaggee::99 14 16 9 18 20 5 3 ac1t0iv4e sam1e4 activ2e 2 13active+f 1.5000+12% 0.6000+31% 1.5000+12% 6 1 13 4 102 1p5os-xypaired 8 103 3pos-e active cockroach.tmd5 5 11 scale = 0.1385 4 13 79 1p4os-xy 80 1p2os-e paired 23 active Yoshizawa’s system of symbols was adopted and refined by Samuel Randlett 20 12 13 11 in the US and Robert Harbin in the UK, same 22 and word of the ar7t o7f paper folding 1.0000+8% 0.6000+20% 1.0000+8% 64 active+f began to spread. Some European countries also had traditional paper folding crafts and those were shared as well. It was this cross-fertilization process that brought fresh thinkers and ideas to the ancient art, building a new 11 136 120 mindset that would eventually look past 21 the traditional forms. same 3 10 By the 1970s and 1980s, things reached Diagrams from an origami book by Samuel Randlett 10 critical mass. Origami societies had paired 9pos-e sprung up all over—in Japan, the US, the UK, and Spain, to name a few. While origami still focused on the classical 10 models and techniques of Japan, new models were being created and shared by folders 72 85 60 everywhere. The origami community is nothing if not generous with its knowledge. But 26 0.6000-4% 9 8 the models were still fairly simple, around 30 or so steps at the most. And no one could same figure out how to use the traditional origami bases to make the ad1d3it5ional fl0ap.s7 t5ha0t0 +20% 15 25 121 0.7500+20% would allow them to take the art to the next level. active active+f 8 After initial breakthroughs and innovations made by John Montroll in the US and Jun Maekawa in Japan, another breakthrough was made: a technique called circle/ river packing. Developed by American folder Robert J. Lang (an origami enthusiast with 1a 3sc7ientific background) and Japanese fol1d3er9 Toshiyuki Meguro—each working 122 119 24 independently—the work was published in the 1990s. This technique allowed a model active 44 creator to place any number of circles—which stood in for appendages—within a 34 7 square of paper. It was a brilliant bit of engineering that resulted in the placement of 0.6000-20% folds in order to create multiple legs, wings, and other appendages right where they were needed. It also showed origami enthusiasts that they didn’t need to be tied down by traditional techniques. Instead, those traditional techniques were now the first important steps toward a new level of art and craft. 5 134 118 19 6 5 same 1.0000+10% 1.0000+10% 4 0.3000+21% 7 2 12 7 18 1pos-s paired 12 6pos-e 17 1 active+f 1.9214+12% 2 10 Origami Masters: Bugs 001-184_30780.indd 10 6/25/13 3:13 PM 001-184_30780.indd 10 ((RRAAYY)) (Text) JJoobb::0066--3300778800 TTiittllee:: OOrriiggaamm6ii /MM25aa/1sstt3ee rr ss3 BB:5uu6gg PssM ##117755 DDTTPP::222288 PPaaggee::1100 14 16 9 18 20 5 3 ac1t0iv4e sam1e4 activ2e 2 13active+f 1.5000+12% 0.6000+31% 1.5000+12% 6 1 13 4 102 1p5os-xypaired 8 103 3pos-e active