“What attracts me to the 22.5° style of design in origami is the aesthetic beauty of simplicity. Unlike many new pieces today, these designs are created not with the intention of adding more to impress, but rather with the understanding that great beauty can be found in the most basic geometric forms. While simple in visual appearance, these pieces can be surprisingly technical in structure and detail. Lines, creases and angles are arranged in a display of geometric complexity, forming abstract representations of the subjects.”
-from the introduction of Natural Origami (2021)
I do notice that this post is quite late after publication; however, I would still like to write about it for the blog. Since beginning the series of models in this book, I had an ambition to publish my designs, but the thought of devoting significant time and effort to produce traditional diagrams stopped me from making any progress. It was only until I developed condensed diagramming that I decided to make this book a reality. There are more details about the method in a previous post. Unlike traditional diagramming, which breaks down each folding movement into one or more individual steps, condensed diagramming groups several steps together without compromising too much information. It is best described as a fusion between a crease pattern and a set of diagrams. As such, it is targeted towards experienced folders who are familiar with crease patterns.
Like what was stated in the introduction of the book, the models are not designed to be overly complex in look, but rather to be minimal in appearance by efficiently utilizing 22.5° angles to mark the subtle shapes of each body form. The models are by no means simple to fold, however. Some of them can be quite difficult to fold, especially from the condensed diagrams which require significant folding experience to follow.
There are 15 models in Natural Origami: pig, goat, sheep, rat, rabbit, cow, dog, chicken, bird, horse, panther, wolf, orangutan, dragon, unicorn. The list is partly inspired by the Chinese zodiac. The book was first published on September 25, 2020. It is available on thebookpatch.com in paperback; and origamishop.com and my online digital store in an ebook version.
Here are my 3 favorite models and their descriptions from the book:
Pig
“One of the first pieces I designed in this series, the pig is a rare example of a model that beautifully merges 22.5° design with an 8 x 8 grid. The distribution of paper flows naturally through the model forming a hierarchy of layers. The design is full of subtle details from the emphasis of fat in the belly and neck areas to the pointiness of the limbs under the body. Careful observation will reveal the underlying symmetries hidden within the 22.5° angles. As a result, this model will remain one of my most successful and favorite models.”
Cow
“The domestic cow, an often unappreciated mammal in modern society, is a beautiful animal that exudes both strength and gracefulness. The model presented here is a celebration of this animal. From the carefully designed linearity of the frame to the 22.5° styled details, the features come together in a balanced display of minimalism. The arrangement of paper naturally produces a minimally shaped layer structure that imitates the body of this subject. The geometric shapes and angles of the neck form a clean, graceful transition to the head. The 22.5° shaping of the limbs completes the aesthetic look. The cow is one of my favorite subjects to admire and design in origami.”
Horse
“The horse is challenging, but exciting to design due to the high standards set by existing models. My intention with this design was to represent the horse in a bare minimum form consisting of 22.5° shapes, yet communicating a stately and almost uplifting quality. Numerous features were chosen to accomplish this. The taller rectangular body segment juxtaposed above the shorter midsection layer shifts the weight upward. The angled top of the hind legs enhances the uplifted quality of the back end while emphasizing distinction from the main body. The bent front leg continues this stylistic look, and the shaping of the legs is intentionally maintained at a bare minimum. In contrast to the rigid structure of the body, the mane and tail introduce fluidity and organic movement, adding further refinement to the design. Throughout the entire design process, my goal was to perfect an abstract interpretation of the horse. I cannot say I achieved perfection, but I am satisfied for the time being.”
Looking back after publishing, I think the book has a few really great 22.5° models, but there are also things I would have liked to change. A few of the models can also be improved. Overall, the book is decent, given that it is my first self-published solo book.