A book that is more than thirty years in the making accumulates many people to whom I owe a debt of thanks. In origami, I particularly thank Bob Neale and Seiryo Takekawa for their inspiration; also John Smith, Dave Brill, Mick Guy, and the late Eric Kennaway, all of the British Origami Society, for their encouragement and wise words down the years, especially when I was much younger and certainly much sillier. My thanks also to the many origami societies, magazines, publishers, and authors around the world who have so generously given me forums in which to teach and publish my origami toys and other modelsyour support for my work has been invaluable. Finally, for her support during this project, my love and thanks to my wife, Miri Golan, the most extraordinary person in my life and in origami today.
Introduction
A successful origami toy is an appealing combination of good design and innocent delight. The very first model I designed was a toy (the Flapping Bird 1), and ever since then, my greatest satisfaction in origami has come from designing interactive toys that flap, jump, fly, spin, swim, bang, tumble, turn inside out, peck, snap, rock, and talk.
For me, a successful toy is the most satisfying form of creative origami. This is because to be considered a success, the mechanism must function well, and this functionality is the result of a design that is refined in both its concept and its folding sequence. With noninteractive models, the concept and the folding sequence are almost always compromised to achieve a degree of representation or realism, but when a model is designed to move, these cannot be compromised or the mechanism will not function well.
The best origami toys, then, have an inherent directness and claritythey seem somehow pure or obvious, to have been discovered in the paper, not contrived from it. However, behind this apparent obviousness often lies a great deal of work. Some of my toys were folded into endless variations before I decided that one variationand only onewas somehow the best, the most perfect realization of an imperfect idea. These variations were always in search of an apparently effortless merging between a mechanism that operated to its optimum efficiency, the aesthetic appearance of the completed model, and a fluent, concise folding sequence. When I had the balance right, I would know it. The key word to describe my favorite pieces is elegance.
My origami toy heroes are Bob Neale (USA) and Seiryo Takekawa (Japan). Both these creators have designed origami toys of supreme originality and elegance. In todays origami world, where mathematical complexity and representational details rule, these simple, charming toys can easily be dismissed as nave, but this is to misunderstand them. I thank them for their inspiration and for the joy their work has given me.
The designs that follow are a selection of my favorite origami toys. It has been a most pleasurable assignment to review, edit, redraw, and write about three decades of themed design work, reopening old origami documents and magazines, reviewing drawings on yellowing paper from times past, and reminiscing about treasured origami friendships, some with people no longer with me. For that, I am grateful to have had the opportunity to write this book.
Read This!
If you are new to origami, or if it has been some years since you picked up an origami book, please read this section. Instead of trying to fold the most complicated models in the book without perhaps knowing the difference between a valley fold and a mountain fold, you should read carefully through these pages. They will help you enjoy your folding and ensure your success.
Paper
Paper, of course, is essential. The absolute best paper to use for most of the toys in this book is specialist origami paper. Origami paper is square paper, colored on one side and white on the other, a little thinner than common copier paper. The difference in color between the two sides is often used to improve the recognition of a modelfor example, by creating color-change eyesrather than being used to prettify a model. Thus, the color change is often functional rather than merely decorative.
Origami paper can be bought from a number of sources:
Stores: Try arts and crafts stores, toy stores, Japanese and East Asian stores, stationary stores, and office supply stores.
Origami societies: Most cities have an organized origami society that will sell origami paper (and books and more). To find the society local to you, simply type origami and your country or city name into an online search engine.
Online: Entering origami paper into a search engine will bring up many online retailers. You could also try auction sites for a bargain.
For those impromptu moments when you are seized by the urge to fold, or when someone suddenly requests you fold that amazing model you made last week, other papers are also suitable for folding. Try using printed junk maila wonderful free source of excellent paperor magazines, old photocopies, or notepads. In truth, most papers that are printed on are okay to fold, and the potential for recycling and reusing papers in this way makes great sense in this age of increasing green awareness. Indeed, I know of origami people who on principle never buy paper to foldthey reuse papers of all kinds that others have discarded. Good for them.
Papers to avoid include newspapers, paper towels, tissue, and any other paper that will not hold a crease well.