Translations From Spanish To English.

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Hanzo
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Post by Hanzo »

Ok, here it is! :)

This is the first part and covers the first 3 pages of the document. I will be adding more and more until I complete the whole document.

Notes about birds design.
By Roman Días 10/2006

Design is without a doubt the most passionate thing about origami to me, my other favorite topic is interpretation, but I put it apart for now. I don't have the chance to talk about design very often. I have read some articles about the topic by Diego Quevedo in http://pajarita.org (traditional bases and packing), Albertino (Lionel) in http://passionorigami.com (designs starting with a base), Nick Bandoni in http://passionorigami.com (packing of circles and rivers), "Wolf" in Power Fold (very interesting), the "Origami Design Secrets" book by Robert J. Lang (the most complete about methods and techniques about design in origami existing up to now), and the ones I like the most: the article by Anibal Voyer (an interesting story about Meguro method, predecessor of Treemaker; and also mentions the legendary method of "imaginary unfold"), and the first part of Peter Engel's book "Folding The Universe". You can learn something from each of them, sometimesyou even learn what you are NOT supposed to do!!! But you can detect that none has the truth or the absolute and universal method, and that a good design is a combination of a "facing the problem method" added to some different origami design methods, applied to each author. From here, writing about design has 2 branches, the methodic numeration of techniques to make different things or the personal points of view that lots of times are not useful for anybody but the author. I think I am one of the second, so I will not describe a lot of systematic techniques. I am going to write about how I deal with design problems.

The Thousand Birds.

Lately I have designed different birds, so I will take birds as an example. When designing birds, you have to start from the same basic scheme. First, there can be swimming birds, walking birds or flying birds. Swimming birds swimming are not supposed to show legs or open wings. Walking birds won't have open wings, but must have legs. Flying birds must have open wings, but sometimes they show no legs. Starting with the most simple design, you can gradually make the bird more complex until you get to the "complete bird". As you can see, when you think about a design, numeration is sided with problems and not with solutions. This is a list of the possible problems we will find when we try to design a bird, depending on the elements we decide to add. In origami, we work with a unit (1 paper, 1x1 in size) so most of the things we do with a point of the paper will affect the rest of the sheet. Then, a global solution like Lang's Treemaker sounds reasonable. We can solve all of our problems in one step. Ah! If it could be that easy it wouldn't be that nice! Solving the length and distribution of the points we need will surely not result in the bird of our dreams. Elements like the "drawing" of the wings, the wide of the wings, the change of color in the chest or the elegance, don't have (for now, by luck) a mathematical solution.

Approach by problems.

Let's see the opposite approach. You can think that each part of the bird is an individual problem and we can look for a different solution for each. For example: solving the problem of the distribution and length of the points with a bird base, and the problem of adding fingers and open beak. Then, sub-problems will show up. Then, we will think about solving the number of fingers folding in 4 or 6 equal strips (for 3 or 4 fingers respectively) and the length of the fingers by "reasonable trial and error", testing with different widths and so on for each new challenge that shows up. And I don't want to lie: all along the process we will have the main problem which is how to make all the partial solutions to co-exist in a single model, not only without messing with each other, but apparently being perfect for each other. Not all of us have Komatsu's ability to create models (designed in a total intuitive way) that seem to have been done in a single step and that each fold is in function of each and every fold. But now I can be bold and say that with dedication, time and a lot of self-criticism, you can get to very good solutions for the global problem of the model.
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Post by Hanzo »

I continue the translation:

Design reality

Let's face, at least in a theoretical way, these possible designs. I am going to talk a little about more or less common solutions that come up before every part we add to a bird. It's very easy to scheme a bird like the first one in the graphics above using a few folds on a square (but it is not that easy that this becomes a good origami model...). As tail and legs appear, a few decisions are required. Probably the third bird in the graphics can be done without a lot of effort using a base for a... ehh... yeah, a base for a bird (or alternatively a fish base). The picture shows a little "number 3" bird but with outlined wings, like "number 5".
Starting from the fourth bird in my scheme, we must have some design techniques knowledge, beyond traditional bases. The open beak can not be done with a traditional base, unless 2 complete points of a frog base are used to form a small open beak. To my taste, it is more than a waste, and not elegant at all. The designer must know a different technique to form both halves of the beak (points division, a specific base with enough flaps, "box pleating", "Treemaker"...). Next case (number 5) is a walking bird, but with some outlined wings. In general, you can design something like this simply using the same tail flap with folds to "separate" the wings to both sides. Many birds, however, are designed with its own flaps to show nice individual wings, but put agains the body. "Birds in Origami" by John Montroll is almost a catalog of methods for this kind of bird (in general, without a double beak). Bird number 6 has feathers in wings and tail in our origami design. Again, this has been done over and over again in a more or less forced way, pleating in a fine way. Lots of times, no matter how fine the pleats are done, the flap doesn't have enough room for them. That's fine as an adornment, but it would be better if feathers had their own place without taking paper from other parts. I mean, if I want a bird like the one in number 6, I must reserve some paper for feathers in the right flap, this is, the wing flap. There are lots od examples in origami including this "Song Bird" by Lang or my own "Gorrión". There is no need to get to complex methods like pattern grafting, it is just a matter of creating a wing that allows to create feathers. When folding the feathers, you must take in consideration that the wing will get smaller, and, very important, it will change its shape and its angle. Another example that would deserve to be in a general methods book is "Golden Eagle" by Lang (Origami Zoo). The wing is done intentionally "deformed" and only gets the right shape when folding the feathers. The first hunch when trying to design a wing with feathers will always be to set the wing in place and with the right length and shape, and then, make the feathers. That's a wrong procedure. The flap that will form the wing must have such a shape, length and position that when the feathers are added, it gets the right shape, length and position. I mean, if you want to have feathers, these should be part of the model, and must be planned with anticipation.
gordigami
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Translations

Post by gordigami »

Thank your Hanzo, for your time consuming work to translate this ! It's a treasure to read .
Really appreciate it !
May I wish success to all who cope with the mountains & valleys of Life,
with all its peaks & depths, as well as Origami .
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Rdude
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Post by Rdude »

Man, that must be taking forever! I really appreciate that you are doing this. Let me know if I can help in the future, if you get stuck on a diagram for instance.

Andrew
If you can't fold it, try a bazooka.
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Hanzo
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Post by Hanzo »

Well, it is a lot to translate certainly, however, it can be done! :)
I just hope it helps you guys! Here is the next deliver!

Digital Library

Bird number 7 in my graphics has a major add. For some reason, precense and absense of fingers has a huge impact in the mind of origamists. That's why I'll dedicate a special attention about it in this article. Kamiya Satoshi in his book (page 95) mentions that he works with a "library of parts". We may or may not know it, but we all have our own little library of parts of animals which can be applied when needed in the design of a model. For sure, it is a method someone invented and used before. Methods to make a horse's crest, a bird's beak or fish's scales. Each typical part, a leg, a feet, an ear, has been "solved" lots of times for different designers, each one in his own way. There are no reason at all to not use other's experiences. Without resting importance to the fact that we can create our own solution, plenty of times we are lucky if we only get to find an interesting use for an existing method. Solutions for a particular problem can be lots, but not as infinite as we could think. If we discard those not so reasonable, possible or unpractical, even ugly, we have even less. From these, finally, we can only choose those compatible with the rest of the parts of the model (each one, with its own library). In real life, we rarely have more than two ways to add, for example, fingers to a bird. And we leave the general stuff to go to more technical aspects of the fingers.

(The graphic here shows different kind of fingers, in order from left to right: Point, False Finger (As used in Lang's Golden Eagle), two fingers (As used in Juan Pedro Rubio's bird), three fingers (As Kamiya's "Yellow Bird" style), three fingers (As Lang's "Dancing Crane" style), four fingers.)

Here, I show 6 different styles of fingers. The first one is really a lack of fingers. It is a classic leg finished in a point in traditional origami. Then we have the "false finger". When the point forming the leg is long enough, it can be folded in a way to pretend a thumb facing back. The effect can be very good and helps the bird to have a better standing. Two real fingers are not so common. It is a point divided in two. The front part represents three fingers of the bird and the back part represents the thumb. I got a beautiful example in this grey bird by Juan Pedro Rubio (the picture is a courtesy of Felipe Moreno). This other picture (in white) shows a design of mine, very similar. I don't know for sure, but I suspect that for this model, Juan Pedro and I used the same "library of parts" and ended up solving the model in a similar way. Now we get to two styles of three fingers. I made a division merely aesthetic, since the techniques are exactly the same. Kamiya uses in his "Yellow Bird" one of the fingers as thumb, while Lang in his "Dancing Crane" leaves the three fingers in front. Finally, the four fingers. This is the real number of fingers for most of the birds. And now that I mentioned it in the last case: some bird families (like parrots and alikes) have 2 front fingers and 2 back fingers. I have made a collection of methods to get fingers, most of them already used with success in bird models. One of the most important things about fingers designs is if these are integrated in the model or if they are grafted. A graft allows the fingers to be added to a design that was fingerless originally, without affecting the length of the original legs. On the other side, if the fingers are integrated in the structure of the model, they had to be made by one of the point dividing methods, thus, reducing dramatically the length of the flap we are going to use as the leg. If we are going to design a bird we can use any method compatible with the rest of the parts, but if we want to add fingers to an existing bird, then we will probably use a graft.

Radial Integrated Fingers. This first group of fingers is not grafted and is made out of 22.5 degree angles as a main reference.
Hanzo
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Post by Hanzo »

(There is a graphin here).

a. Lang describes it it "Origami design secrets". I didn't find any real example that uses this points division for birds' fingers, however, it can be used and it is worth to include it in the catalogue. The 4 fingers come from the side of the paper, keeping similar thinkness for each. The concept behind the division is the point sacrifice.

b. Used in a Sparrow (Gorrión) of my own design. The folds starting in the fingers are joined where the leg ends, making this a very direct method to divide the flap: it is pleated all along and then you make a finger on each pleat and one in the center.

c. Another classic method of point division. The difference with "a" is that the references are parallel to the edges. Miyahima uses it in his rat, and myself used it in the legs of the Díaz-Naranjo crane (Grulla).

d. Trisection of a point, or "perfect division": an all times classic. A thousand uses are given to this method, one of them, is to put fingers in birds. Problems? Done the way it is showed, it only gives 3 fingers and not 4. For example, Dino Andreozzi uses it for a beautiful Blackbird (Mirlo) (The diagram is available in Origami Chile).

Integrated "box pleating" fingers.

This second group has 2 methods based on "Box pleating", both taken from Lang.

(The graphic here says: "Integrated Box pleating fingers (not grafted)"

e. This leg is made using a parallel to diagonal "box pleating". The extra triangle when reaching the point of the paper is used to get 3 fingers. Adding a fouth finger would, without a doubt, shorten the leg in a way that the "Dancing Crane" (Completed CP) wouldn't be the same.

f. Lang's "Red Tailed Halk" legs are made with a pleat parallel to an edge. If we look at the complete CP of this model, it is evident that there is no graft, but the legs are integrated in the "box pleating" structure of the whole model.

Diagonal grafted fingers.

The following are ways to get fingers making a graft in a diagonal of the model. The general method is now a classic. Let's notice that once made the graft, it can be used in more than one way.

(The graphic here says: "Fingers with grafts in a diagonal").

g. This is equivalent to the point division saw in "a" but made on a graft. As example, we will use the method used in the front legs of the "Tree Frog" (it is not even a bird!) by Lang and Oscar Rojas' Heron (Garza Real). Both show how to add fingers to traditional models and use this pattern to divide the graft in 4 points. Comparing it with the previous method, this one gives longer fingers, but makes the leg shorter. On the other side, finger grow in the middle, edges and the point itself, having different thickness. A lot of models can be used as examples. I will mention Lang's "Night Hunter" and the Cardinal I show in the first picture on this writing. A version with grafted fingers can be seen in the last picture of the writing.

i. A little bird base can be placed in a diagonal graft to get 3 fingers. Notice that this is not much different from "d" and "e". The triangle to get the 3 fingers can be used in different kind of fingers easily. The fact of using one or another kind of fingers will depend on the possibility to make it go along with the rest of the model.
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Rdude
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Post by Rdude »

Awesome! This is a really informative article! I might have to try assembling this in a PDF file, and seeing if passionorigami will post it along with Diaz's original (with credit to you for doing all the translation :) )

Rdude
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AquaDragon
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Post by AquaDragon »

Hello Hanzo, I have just remembered a diagram in what I think is Spanish. When you have the time, could you please translate this page? Thanks in advance.
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Finward
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Post by Finward »

Hi Hanzo
If you feel overwhelmed with this work, I can help you, I'm also from Mexico, altought my english its not so good at all.

Hi Aqua Dragon
Here is a translation of diagram texts.
5 - Repeat in the other 3 corners
11 - Repeat in the other 3 sides
18 - You have to do this steps simultaneous in the 4 corners
22 - Tail------------Head

Head-----------Head
23 - Folding the heads
28 - Folding the tail
33 - You have to fold all the length of the paper (its made the same with the heads [humm, you got the point? Im not sure of how to translate it])
34 - Repeat in the heads
35 - Only folded in tail
With this we have finished, for the moment, with heads an tail. In next steps i wont draw them for making drawings easier
36 - (same as 22)
37 - Heads make impossible to fold as far as the corner, it must remain as in step 39
38 - Inside view of head
42 - Unfold to step 37
46 - Repeat behind steps 44 to 46
52 - Unfold to step 50
55 - Repeat steps from 49 to 54
61 - Repeat behind steps 57 to 60
63 - Lets continue with the heads
68 - Steps 63 to 68 must be repeated in all three heads
69 - the tail
76 - Heads and tail are not drawed for making diagrams easier
81 - Repeat 78, 79 and 80 in the other 3 points
82 - Unlock central points
84 - Repeat behind steps 82 and 83
89 - Arrange the layers so points "a" and behind are heads
91 - -----Heads
-----Tail-----Head

93 - ----------Head
------------Heads
--------Tail
94 - Detail of heads
96 - ------------Heads
------Tail
97 - Detail of tail

Hope this is useful for you
Hanzo
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Post by Hanzo »

LOL!

Thanks Sebastián! :)
Not really overwhelmed, but a co-worker took vacations and I am covering him (translate that as twice the work).

He will be back on monday, so I will continue with the translations on monday.

:)
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Morgan
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Post by Morgan »

im looking forward to reading the rest of this article :D im trying to make a cool crane and stuff......its weird though i dont know how to split one corner into two slender legs..........the idea is simple though... traditional crane, instead of tail, pull it down to form into legs....but you only get one.. errrrrrrrrrrrrr
Hanzo
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Post by Hanzo »

I am sorry for the delay guys!!!
I was sent to Europe and thus away for some weeks, but I am back.

I will continue working on the translation :)
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