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Origami - Art of Paper Folding

Wed Dec 19, 2012, 1:34 PM
Origami is an art form that transforms paper into a sculpture through paper folding and sculpting techniques. Thus, cutting or gluing paper would not be considered to be origami, but 'kirigami' instead. The name 'Origami' is Japanese, in which 'Ori' is the Japanese word for folding, and 'kami' the word for paper.

It is generally believed that origami originated from Japan, but, as there are few records, this is not certain. Nevertheless, Japan developed origami into an intense art form that still exists to this day.


In the past, instructions for origami were passed down in spoken form and not written down. Some say that origami first originated in China in 1st Century, in which paper was then brought to Japan by Buddhist monks in 6th Century. Others claim that paper was made in the 8th Century by the Arabs, with Moors bringing the art of paper folding to Spain in the 12th Century. Spain then spread to South America, and as trade routes developed, origami was thus introduced to Europe and then the United States.

Paper was not that available in the early days, so only the rich could afford to paper fold. Often, gifts came in the form of origami and popularity increased.

In 1797, 'How to Fold 1000 Cranes' was published and contained the first written instructions on how to fold a crane, a sacred bird in Japan. It was a Japanese custom that if a person folded 1000 cranes, they would be granted one wish. This is otherwise known as the Senbazuru.

Senbazuru - 1000 cranes by wastedlimes

From the early 20th Century, Akira Yoshizawa, Kosho Uchiyama, and others began creating and recording original origami works. Akira Yoshizawa, in particular, has been a monumental figure in the innovative art of origami, creating many original designs and inspiring a renaissance of the art form.

Mathematics were later used in studying origami, thereby leading to more complex origami models. As a result, there are many types of origami, such as 'Action' origami in which creations can move, 'Modular' origami in which many identical pieces put together form a complete model, 'Wet-folding' origami, gentle curves where paper is often made damp, 'Pureland' origami where only one fold may be done at a time, and many, many more.



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Papercuttings

Sun Dec 9, 2012, 4:17 AM
Papercutting is an art form that has been seen all over the world, adapted to regional styles based on cultures. It should come as no surprise that the Chinese have the earliest forms of papercutting currently known to us as the 'ancestor to paper' has been found in China. This was dated as far back as 2nd century B.C. and is considered as important as their discovery of printmaking, gunpowder and the compass.

It's your life.(paper cutting) by Thessatoria
Thessatoria's It's Your Life

Naturally as paper spread throughout the world this art form evolved, spreading all over the Far East through to the Middle East. For example Japanese Kirigami where origami folds are cut and Indian Sanjhi

This art form is popular to this very day, take renowned British artist Rob Ryan, which I am sure many of you here would have at least seen his work before! His work has been seen printed over everything you can think of, kitchenware, clothes, books and probably more!

Wall tapestry made from Rob Ryan's work. 

Papercutting or just papercraft  will take the shape and form of whatever culture and history paper exists in at the time. Its influence as an artform transcends well beyond it's roots as it's aesthetics and variety of styles have become objects of desire and beauty. I'll leave you with this, a little gem I found this year. An advert created by Dutch artist Rogier Wieland to advertise the new Moleskine Planners.

Roger Wielands Moleskine Planner animation

Source: www.misterrob.co.uk, rob-ryan.blogspot.co.uk, www.unesco.org/culture/ich/ind…


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ill be uploading the actual image here monday, after i let it settle over the weekend to see if there are final tweaks.

Hope you enjoy!
  • Listening to: daft punk
  • Reading: mens health
  • Watching: dexter
  • Playing: darksiders, cod
  • Eating: salads :(
  • Drinking: water, redbull
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Our guest post today comes from established Children's Book Artist Donald Wu.  Don is a San Francisco Bay resident with a huge portfolio of success under his arm that includes more than ten published books to date. If anyone can tell you what it takes to be successful and stay successful it's him! So please join us as Donald helps to walk you through putting together the most important  tool you'll need to establish yourself and start getting work, your portfolio!




Every now and again, I get asked the question, "What should I put in my portfolio?".  So, I wanted to take a moment and share some tips and suggestions you might consider when putting together an illustration portfolio. Specifically, a portfolio of illustrations catering to children's publishing; although websites and social media play an ever-increasing role in promoting your work, having a physical portfolio will still come in handy the next time you attend a nearby illustration conference or if you find yourself lucky enough to be given some face time with an art director. So let's get started...

First off, let's get the basics out of the way; a typical portfolio should contain anywhere from 12 to 15 images, bound in a nice, clean, and simple, 8" x 11" portfolio. The thing to remember is this: showcase work and talent, so the portfolio itself should NOT distract or compete with the artwork. So rule of thumb ...keep it simple! Be sure to include pocket at the back of the portfolio with postcards and/or business card for someone to take.

Now for the most important parts of any portfolio, the ARTWORK! Here are a few key points to remember:
        
  • Order & Pacing: Typically, a portfolio should open with a sample of your best work! The point of this is pretty obvious, you want to WOW your viewer and grab their attention right from the start. Once you have it, it's a matter of sustaining that interest throughout the entire portfolio. To achieve this, you want to space your artwork out evenly and build a rhythm between some of your good/solid pieces and some great/better pieces. And to end it on a high note, you'll want to include another one of your best illustrations. Ideally, this will leave them with a lasting impression of your work, or even better still, leave them wanting more!Below is a quick diagram to better illustrate this. One thing you will notice is that depending on the quality and the number of pieces in your portfolio, as well as the fact that you will be constantly update your portfolio, we will have some variations, but the basic structure should still be followed.

          
    • Consistency of Quality: Your portfolio is only as good as it's weakest piece. So if you have an illustration that you are not sure about, it's best to leave it out. To a potential client, a weak piece will also have the potential of leaving a lasting impression, but for all the wrong reasons. Your portfolio should only contain your best work, so in some cases, less is more. So remember, even if it means a thinner portfolio, only include work that you are actually proud to show off.
    • Consistency of Style: Along with demonstrating a consistent quality of work, you also want to define a consistent style in your art as well. A big mistake you can make is filling your portfolio with work in several different styles and techniques. Below are several scenarios someone might decide to do this with their portfolio. In each case, first, I'll give the rationale behind these choices followed by reasons why you shouldn't.
      1. By showing a wide range of styles, there is a belief that you are showing the art directors that you are versatile and capable of handling multiple mediums and styles. Instead, what ends up happening is that you'll leave them thinking, "What kind of art will I expect if I hire you?" And this is not what is desired.  
      2. By including a portfolio with different styles, you are hoping this will help you land more jobs because you are in essence casting a wider net. Unfortunately, the downside of this is that you are also diluting your portfolio in the process. So instead of having a full portfolio of 12 solid pieces highlighting your individual style, you are only able to show potential clients 4 or 5 pieces. This will make it more difficult for them to accurately assess your skills and make them reluctant to hire you.
      3. Let's face it, sometimes you just need a filler. You might run into a case of simply not having the number of illustrations to fill up your portfolio. So you decide to round out the 12 pieces with an illustration that's different just to bulk up your numbers. The thing to remember is that any capable art director will see right through this as well, which will lead to them to question your experience. And just as bad, this misplaced illustration will stick out like a sore thumb and disrupt the flow to the rest of your portfolio.

      At the end of the day, the person looking at your art needs to be able to associate your name with your work. So the clearer and simpler you make it for them and yourself, the better.




    • Content: The next area I want to cover, I also feel is the most important, and that is the kind of illustrations you should showcase. So let's get down to the nitty-gritty...
      1. Children: Seeing that we are creating a portfolio for children's publishing, naturally, a huge majority of our time will be spent drawing and painting children. So knowing the subject matter will be crucial! From sad to happy, or surprise to shock, being able to convey children with emotion and life will be an important part to master. This means that your portfolio should not only cover a diversity of races, gender, and ages of children, but you can also cover a variety of situations and scenarios a child can relate to.
      2. Animals: Aside from drawing children, in this business, you will also be asked to draw lots of animals. So in your portfolio, it would be beneficial to include some animals as well. This can be your more realistic and lifelike animals to your more anthropomorphic variety.
      3. Make Believe: Fairy tales and the fantastical play a big part in children's publishing, so it would be a natural choice to include them in your portfolio. However, here's a caveat for those who decide to illustrate a popular one, and that is the risk of it being generic or cliche. Personally, I feel that unless you can introduce something new to the table, or add your unique twist to a classic, I would stay clear of them. Instead, you should use the opportunity to show off your creativity, and imagine your very own fairy tale.
      4. Storytelling: In children's publishing, a big aspect of what we do is tell stories with pictures, and so your portfolio should reflect this. Your illustrations should tell a story. The bulk of your illustrations should include work that shows a characters interacting with either their surroundings or with each other. You should limit posed, glamour shot or pin-up type of illustrations. In other words, focus on the illustrations you would find inside the pages of a children's book and not so much on the illustrations you would see on the cover.
      5. Continuity: Another part of telling stories with pictures also involves being able to demonstrate continuity. So a good addition to your portfolio would be to include a couple of illustrations (no more than 2-3) that shows you can handle a series of sequential illustrations involving the same character(s).
      6. Licensed Characters: Lastly, this seems pretty obvious but you should definitely avoid using licensed characters in your portfolio. Unless you look really good in strips or bright orange, just stick to your own original work. Not only would you be coming across as unprofessional, this too, is another missed opportunity to show that you can be creative, by inventing your own original characters.

      When deciding on the content of your portfolio, the best advice I can give you is to make the most of each illustration.  You are limited by the number of illustrations, so each and every selection becomes all the more important when trying to make a good impression. Be deliberate and even strategic about what ends up in your portfolio. A solid, well-rounded portfolio will show potential clients that you can do a job, and do it well.




  • Know Your Audience: Within children's publishing, there are lot of niches, so it's important to know who you are showing your portfolios to. From educational, to religious, to trade publishers, each one of these publishing sectors have their own requirements and preferences. So do your homework and know what these clients are looking for, and then cater your portfolio to fit those needs.
  • Updating Your Portfolio: It's a good idea to keep your portfolio current. As your work continues to evolve and mature, so too should your portfolio. While some pieces remain staples in your portfolio, others will be quickly be replaced. One thing to remember is to stay flexible depending on what's needed by the potential client.


Well, I think I have covered just about everything! In closing, I just wanted to say that this business of illustration can be quite frustrating and challenging! Not only is the competition as high as ever, but add to that the economic climate of these past several years... things couldn't be more daunting for anyone trying to succeed in this business. Which is all the more reason you need to build the strongest portfolio possible to stand out from the crowd. And for those persistent and determined few, I hope this has helped. Good luck and I wish you much success!





For more of Donald's work be sure to visit his;
Website
Blog
Rep-MB Artists


 


OnceUponASketch is a Children’s Market Blog.

Norman Grock
and Wilson Williams, Jr
have come together to give insight, education and news about the many
facets of the Children’s Illustration Market. From Children’s Books to
Character Design, Storyboarding, Toys and Lic. Products. Find articles,
interviews and resources to help fuel your education and growth. Jump on
to learn more about the varied industries and what it takes to become
successful and make it in them.

Children's Book Illustrator Donald Wu drops by to fill you in on the ever asked and incredibly important question, "What should you put in your Children's Book Portfolio?" Drop by to find out!
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Info about stolen artworks

Fri Jan 18, 2013, 11:19 AM
Hiya!
So I'm sure some of you had their artworks stolen at one point, posted on facebook, used in a magazine, used in the making of a site, etc. Most of the times you don't know how to react or just don't care if it's of a small importance. But what if you really want to have your artwork removed?
I've just stumbled across this, did anyone know about it?

Btw, it's not a scam, nor spam; I've found it in a photography forum and thought I should share if anyone's interested:)




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I follow a lot of insanely talented artists here on DA, people whose work I look at in sheer awe and whose skill I can only dream of one day matching.
Unsurprisingly, that high quality of work leads to them either having their work ripped off or operating in fear of that happening. They, quite rightly, want to protect their art with a watermark, something which I'm not against at all.
What I am against, what I hate, is people using that god-awful DA watermark.
If you are a good artist: don't be a lazy git. Make your own watermark, use your own logo. You'll protect your work without doing it the disservice of having some automatically-generated arse-smear ruining it.

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Alt Text

Just wanted to give a little tour on my materials that I use to paint (or what I find works for me)

*Liquin- Used to use mineral spirits, and linseed oil but I found how much linseed oil tends to turn all my colours yellow. Mineral spirits became too watered down many people asked if I painted with watercolours. Liquin and a bit of poppy seed oil makes a perfect mixture. (Almond oil is what I want to try in future)

*Brushes- Round Synthetic mongoose. Flat square brushes was my fav back in the time but no longer.

*Pallet- I buy a painting frame with glass for $8 then I put a white paper under the glass and use that to mix my paints. I used to own a little fridge where I would store my pallet over night (it never dries but your fridge will smell like oil)

*Reference photos- I tape an ipad to my painting and I can zoom in, play music, photoshop and skype while I paint. Best invention ever !

*Paints- I have upgraded to higher more expensive paints thanks to my gift cards (think of it as an investment). Old-Holland, Karma Pigments, Classico and many Winsor paints. My favourite colours at the moment is Kings Blue and Paynes Grey. I stopped using Titanium white, I now use Soft mixing white or Led White (If your doing portrait painting titanium white absorbs light like your dry white walls while led white or flake white reflects and makes it more alive). I actually don't own yellow or yellow ochre I just never needed for my paintings.

*Cleaner- Winsor & Newton Brush Cleaner & Restorer. None toxic. It can restore your dead brushes to life. I also wash my brushes with soap and hot water.

Hope this info helps. Let me know what tricks you use at your studio. I'm always ready to try something new. Plus check out my newer work on my site.

Website , Blog, Twitter, Tumblr , Facebook
  • Eating: broccoli
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The wellness of your camera sensor

Wed Apr 24, 2013, 12:36 AM
How many of you remove the sensor dust from your digital camera's sensor on a regular basis? Sometimes, services can be expensive or you just don't have time to take your cameras to be checked and cleaned whenever it needs to. 
Here are some tips on how you can spot the dust on your camera sensor effectively and how to remove it.

:bulletred: Checking your sensor.


               Shooting the test image

  • Start off by setting your ISO to the lowest (normal) range, for example 100 for Canon and 200 for Nikon;
  • The test shot has to be completely out of focus, so go ahead and manual focus to infinity on a piece of paper OR to close focus for the sky;
  • Now it's time to set the aperture. It's usually okay to set your aperture at f/22, that way all the spots are well defined and ready to lift off! :devil:
  • What lens to use? Usually something like a telephoto lens will do;
  • RAW or JPEG? Either of them is okay, as long as you set your JPEG at the highest quality and file size;
  • Shoot your test image.

              Post processing the test image

  • Open your image in an image editor (e.g. photoshop, GIMP);

       1 by DianaGrigore

  • Desaturate it by going to Image > Adjustments > Desaturate or by hitting Ctrl+Shift+U for windows or Command+Shift+U for mac. You may see some spots at this point.

       2 by DianaGrigore

  • Go ahead and make a levels adjustment layer above your background image  ( you can find it either by going to Layer > New Adjustment Layer > Levels, either by clicking the black and white circle icon at the Layers panel)

  • Next, let's increase the contrast by bringing in the two end sliders to meet the ends of the peak from the histogram (which represents the tonal gradient that you have captured within your image)

                                          4 by DianaGrigore

      :bulletred: This is how the image looks after increasing the contrast:

      3 by DianaGrigore  
              
         :bulletred: And a 50% zoom of the image:
  
                             Mg 3093 by DianaGrigore


:bulletred: Cleaning your sensor


  1. Important! Make sure you have a fully charged battery. You don't want to run out of battery while you're cleaning your sensor, you may damage it and the expenses are pretty high.
  2. Find the item in your camera menu that flips up the mirror and lets you access the sensor;
  3. Lay the camera down on a table and don't touch anything as you clean;
  4. You may want to use an air blower to remove the dust on the sensor; 
  5. Do not use canned air;
  6. The image a lens projects onto the sensor is upside-down, and when the camera processes the image it is flipped right side up. So what you saw in your image has been flipped.

After that, shoot another test image and compare it with the other one to see if the spots have diminished. Sometimes they won't and that is pretty tricky because you'll have to use a special sensor-cleaning brush or swabs or solvents in order to remove the spots that still linger on the sensor.

:bulletred: Final tips and tricks


- Take this matter seriously and be prepared when cleaning your sensor; you don't want to damage it and later pay for an expensive repair.
- Be sure to read the directions of the products you use very carefully. 
- The products you use need to be kept very clean.


The cleaning process can be tedious, but you don't always know that when you send your camera to be cleaned it will be done in detail, with sufficient attention. And even if you do, you can always check it after it was done.
Good dust hunting! :heart:


Tips & tricks on how to keep your camera sensor clean and ready to shoot!
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Weekly update


[EDIT: Added a few more awesome submissions!]

So sorry this is late, everyone, it's been a crazy week! Anyways, we've had a couple more submissions this week, check them out:


Let's Drink, Like friends. by pattesdevelours Marguerite's mask - Takarazuka's Scarlet Pimpernel by giusynuno Bird's Box by Ninina-nini Dragon Skull Headress by savagedryad WIP- Big horns by savagedryad




Cool stuff! Don't forget, you have until next Wednesday to submit your paper mache crafts if you want to be eligible for Member of the Month! If you don't finish before the end of the month, you can still submit your craft- just comment here or send a note to me or the group with a link to your submission so I can add it.

Previous updates


We have our first submissions! Check it out:


Owl mask by rainboww-horror Fae Mask by 0rangerayne




Seems this has been a week for masks! Anyways, I'm looking forward to seeing some more submissions before the end of the month! See you next week. ^_^



Hey everyone! No submissions to this month's challenge yet. I hope to see some submissions soon- remember, you have until the end of January to submit your paper mache and be eligible to be the Member of the Month! After that you can still submit your work and it will be added to this journal, but you won't be eligible for Member of the Month.

Welcome to this month's Creative Craft Challenge!


The Creative Craft Challenge is a monthly feature where we introduce our members to different crafts. Every month I’ll give you a little background on a craft that you might not have heard of and show you a few great tutorials to encourage you to give it a try and show us your work.

So join me every month and put your skills and creativity to the test with lessons and tutorials, examples, and a place to show off your work. Your submissions will be featured in our favorites gallery and in this very blog!

Remember, the aim of the challenge is to introduce you to crafts that you might not have heard about or tried before. They won't require any expensive materials or years of training and expertise to complete. The idea is to challenge you to go out of your usual field of work and try something new!

This challenge is NOT a contest or a display of professional work, but a fun opportunity to broaden your crafting horizons. NO prizes are involved and everyone will be featured!

Member of the Month


At the end of every month one participant will be chosen as ArtisanCraft's Member of the Month and will be featured on our profile page for the entire next month. December's member of the month is Lamorien. Congratulations!

Paper mache


Paper mache, or in French, papier-mâché, is a technique using layers of paper or textile and adhesive to create a form. It's been used for centuries the world around, from ancient Egypt to modern days. Lightweight but relatively durable, it's a versatile medium that can be used for everything from sculpture to jewelry and costumery.

This challenge was suggested by Ninina-nini.

Here's a few tutorials so you can try it yourself.

TUTORIALS


You do NOT have to use any of tutorials here to submit your art, they are only suggestions to help get you started. If you need some more references or directions, there are many more tutorials both here on dA and all over the internet.

A few of these tutorials are for very specific types of things, such as props, or masks, or armor, but I thought they were good examples of techniques that can be used for other things as well.


A recipe for paper mache paste.
:bulletblue: Paste recipe :bulletblue:

A simple bangle bracelet.
:bulletblue: Bangle :bulletblue:

Paper mache teacup pattern and directions.
:bulletblue: Teacup :bulletblue:

A mask making tutorial. A good example of casting off of a base.
:bulletblue: Mask making :bulletblue:

A tutorial for a Portal gun. A good example of using wire mesh as a base.
:bulletblue: Portal gun :bulletblue:

A tutorial for making costume armor. A good example of using cardboard as a base.
:bulletblue: Armor :bulletblue:

A video tutorial for making paper mache paste.
:bulletblue: Video recipe :bulletblue:

A few off-dA sites dedicated to paper mache art:
:bulletblue: Gourmet Paper Mache :bulletblue:
:bulletblue: Ulitimate Paper Mache :bulletblue:



Examples

Some Lots of examples to give you a little inspiration:


Dark Tree Paper Mache Skull by ArtbySaide Captive heart by pmpropmiester Paper Mache Blackbird-1 by JessicaPilowa Turkey- Paper Mache by Izzy41630 Pyro Gas Mask WIP by Feicoon Papier-mache Owl Wall Hanging by MagicCarillon Paper Dragon by LindseyWArt Tiger Skull Mask by ArtbyZaheroux Paper Mache Helmet by robertgrima extraterrestric skeleton 1 by morpho2012 Cheetah - Paper mache by SilverTwilight05 Growing From A Book by xXVampireDreamerXx :thumb276051486: Paper mache  tortoise. by Moodlight14 Wonderland by rrenna Fake Cheeseburger by alanbecker Ice Blue Mask by karnen Paper Mache King Penguin by jenniferfischer Anniversary Teacup by BlueSkies21




Get Crafting!

Now it's your turn to try some paper mache!

Every Friday I'll update this journal to feature our member's creations.

To submit your paper mache:
:bulletblue: Go to the ArtisanCraft homepage, click on "Faves" (down along the left), click artisancraft.deviantart.com/fa… (Creative Craft Challenge 19- Paper mache)  (along the left side), then click the "Suggest a Favorite" button (top right), and you're in!

If you have any questions, comments or suggestions about the monthly Creative Craft Challenge, this craft, or anything else, please feel free to comment here, on the Creative Craft Challenge of the Month blog, or by sending me a note to me, Animus-Panthera.

Happy crafting!

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LET'S GET FOLDING

Wed Aug 21, 2013, 8:54 AM


LET'S GET FOLDING


Many times a friend or a deviant has said to me, "oh I could never fold origami, I'm not gifted that way", but it's just not true! As part of projecteducate's Artisan Crafts week, I'm going to show you how simple it is to find and fold something gorgeous and to present it well to your internet audience.

With just a little inspiration and a bit of patience, ANY one of us could fold something absolutely lovely. So what are you waiting for?? Let's get folding!


1) BE INSPIRED



First of all, you need to figure out what you want to fold. You need inspiration from looking at gorgeous origami, from admiring nature and the world around, or maybe it'll just hit you like a random lightning bolt. We are super privileged to have many experienced and skilful origamists on dA, many who create their own models from scratch. From personal experience I know it’s no easy thing to create your own original origami designs and am always struck by the beautiful creations I see here.

Origami Blue Jay by HTQuyetVendetta by chosetecAntique Folding Camera by CahoonasGoose - Origami by mitanei
All the above are original origami designs by dA artists

After that, you've got two options. Hard: make up your model all by yourself. Simpler (but not always easier): find some existing folding diagrams or a crease pattern to follow. There are a wealth of origami books out there for all abilities and tastes, and plenty of tutorials and videos online, too. Here's a couple of ideas and resources:

  • Browse sites like Gilad’s origami page and Happy Folding. (They're a couple of my favourites because they have a large and varied database of models, complete with photographs and books where the models are diagrammed.)
  • Be realistic and start with a model on your level. Don’t go for Satoshi Kamiya's Cerberus or lyrebird when you’ve only ever made a simple jumping frog!

Cerberus by manilafolder429 Lyrebird by neubautenJumping frogs by YoyoTheMadScientist


2) CHOOSE YOUR WEAPON



Now that you've decided what you want to fold, let's think about what to fold it with.

  • If you’re a beginner or have not folded this model before, practise with something like printer paper. Something everyday and easy to get hold of.
  • There's LOTS of different types of paper, differing in strength and weight and texture and colour...from ordinary single-side-of-colour kami, Tant, Unryu, Elephant Hide, Tissue Foil to the coveted Origamido. There's no completely straightforward way to decide what to use as it really depends on the model. However, some things are common sense: e.g. don't use lush elephant hide for miniature origami, or foil paper for a wet-fold. If you're interested in more statistics and a deeper discussion, take a look at: www.happyfolding.com/paper-rev… and www.langorigami.com/paper/pape… . Try folding with a variety of papers to get the feel of them, and follow your intuition when deciding which to use.
  • Fancy paper aside, you can use anything that folds. Pages from books, envelopes, wrapping paper, maps...use your imagination!
  • What size do you want your resulting model to be? Generally, the smaller the piece of paper, the more fiddly and tricky it is to fold. On the flip side, it's often difficult and expensive to find large sheets of quality origami paper.
  • I have a bad habit of using my “good” paper for my very first attempt at models, which works out for me sometimes…do as I say, not as I do, and practise with "rough" paper first!
  • Lastly: dry fold or wet-fold? If you're a beginner, the answer is almost certainly DRY, but it's something to think about when you get more advanced. (Wet-folding is a technique of first dampening the paper before folding. It gives the model strength and helps it keep its shape once dry, as well as letting you have more freedom in shaping the origami, making it more realistic and aesthetically pleasing.)


Origami Tesselated Mask by origami-artist-galenOn Sail by ObeseRhino
LEFT TO RIGHT: using Origamido, Tant, tissue paper


3) FOLD IT



Yippee, we're finally at the folding stage! :dance:

  • Remember to use your "rough" paper as you practise and perfect the model.
  • Practise practise practise...:eager:
  • It's easy to get frustrated and that's okay, just come back later. There’ve been a couple of models that I attempted when I was in my early teens. Due to my lack of skill or patience, I’d get stuck at the same point every time I tried it. I huffed and puffed, shrugged, had a coffee and found something else to fold. Years later, I find I can now finish these models and do it well! So you just need to give it a break sometimes.
  • Get familiar with the model before you fold the final version with your “good” paper, and feel free to tweak the original design, adding your own innovations and ideas.

Then…fold fold fold!


4) SHARE YOUR CREATION



Once you've finished your final fold, CONGRATULATIONS!!! Run around and show it to your housemates and your husband and your three dogs! :iconeeeeeplz:

For most of us now the main audience we'll get will be through the internet, so photography matters! It frustrates me to no end when I see a superbly folded model photographed on a cluttered desk with poor lighting and at an angle so you can barely see anything. DO think about how to present your finished origami.

  • NO CLUTTER and GOOD FOCUS are a must: it's easy to find a clear space to place your work down, and even the most basic of cameras can still focus. You don't need a fancy camera.
  • Lighting: natural sunlight always works well, or you could use a well-lit room.
    Background: does the origami stand out against it or does it push the model out of the limelight? Do they complement each other well?
    Colours?
    Angle: how much of the model can you see? Do you want a view of the front/side? Is a single photo enough or should you have an array of angles to do the 3D-ness of the model justice?
  • Be imaginative: do you want to keep the background simple to draw attention to the model? Or maybe create a little scene and a story? Some examples:

    Professionally empty:
    Gryphon by KennyQuanStegosaurus by pejofar
    Natural habitat:
    Origami Bear Cub by FoldedWildernessElwoowl and Jakowl Blues.. by DanielSancho
    Creative lighting and innovative:
    Rhombic Flagstone by wolbashiLevitating Crane by ilikeleeks
    Simply appropriate:
    Gedc1124 by FongchiSummer Ornamental Cube by kiddophoto

Now you're all set to go share your lovely work on deviantART, and in groups like:

:iconorigami-united: :iconorigami-enthusiasts: :iconorigami-insane: :iconorigami-world: :iconpaper-arts: :iconpaper-crafters: :iconcrartisancrafts: :iconwe-love-paper: :iconartisancraft:



So there we have it, folks!


How to get folding in four easy steps. There's a lot more to say on each topic but whether you have never tried to fold before, or you've tried and flopped at it some time in the past, or even if you're an old hand at origami, hopefully today you'll be further inspired to go go go and fold something beautiful. :heart:



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