2017

Sometimes it is good to challenge oneself by attempting the same subject more than once. In this case, I had already designed a shark, but I felt like designing another. To change things up, I used 22.5° design. This time I paid extra attention to all the edges in order to create a specific appearance. Each edge is positioned in a way to best define the muscles and body form of this shark.

2019

Biotope

Since the first time I encountered a giant sea bass diving off a local beach, I became determined to add this fish to my collection of models. At first the model proved to be challenging to design due to the wide variety of available styles. However, I settled on boxpleating, a design style based on a square grid, which fits with the bulky, but elegant character of the fish. The repetition of design structures and attention to details throughout the model, combined with the refined wooded base, make this piece one of my most successful to date.

As a child, the crab has been one of my favorite origami subjects to fold. As such, I aimed to create a piece that pushed the boundaries of existing designs. One of the most important goals for this model was to make the anatomy realistic by structuring the legs from underneath the carapace instead of the sides. A second goal was to prop up the body from the ground; this was achieved by successfully accomplishing the first goal and developing a specific pose through shaping.

An important thing to note is that searching up crabs on google images produces photos of crabs outside of water. Crabs outside of water look different from crabs underwater. Therefore, to be as realistic as possible, one must search up photos of crabs underwater.

This model is the same as the sea turtle, but it starts with a shell graft on the paper.

The first model in this book, the squid, is also the first I created in the marine origami series. I generalized the squid into three parts: the body, fins, and tentacles. The body of the squid is formed into a cone with a lock to hold the two sides of the cone together. The unused paper in the cone folds out to create fins. I leave the tentacles in a pleated form to achieve a simple look.

2016

Paper

This model is derived from a slight variation of the squid base. The body locks with a folding sequence similar to wrapping a gift box. The pleats are twice reversed so that the tentacles point out and down; the eyes fold from a few layers of the pleats. I inside reverse fold the tentacles only once to give them structure. By chance there remained extra flaps on top of the body which I folded down to create the side fins. Conveniences such as these make origami design so much easier.

Octopus, 2023

One uncut square

With 15 pairs of suction cups on each arm for a total of 240, my new octopus design is my most tedious model to fold to date. The design uses a fairly simple octopus base, with additions to create the detailed suction cups. Diagrams on Origamishop with purchase of Marine Origami.

2017

Biotope

This model was the result of free-folding with a small piece of paper. The anatomy of this particular model turned out surprisingly accurate, given the simplicity of the initial folds. The head has some unique folds in order to lock the jaw and face.

I had planned to fold a penguin, but ended up with an orca. One of the key features of this design—as well as the beluga and sperm whale—is the design of the tail by bringing together two corners of the paper and tucking one of the layers to lock the model.

The tuna proved to be very difficult to design because of the specific requirements of the proportions and features. I first used the crumpling method to distribute the paper into the right amounts for each feature. I gradually smoothed out the wrinkles to reduce the model to its basic creases. After I figured out what creases I needed in their general areas, I had to determine the angles that would best fit the model. This part required the most time and effort. This model shows that the initial crumpling method does in fact work.

Instead of creating individual tentacles, I fold an octagon and shape the corners into tentacles. The base splits the paper into two sections. The top part I turn into the head and the bottom into the tentacles. The folding process begins in 2D then transitions into 3D, where a series of locks and unique folds create the head and fins.

I created the head first before designing a general shape for the body down to the tail. I left extra paper to figure out the dorsal fin area after. As long as you distribute enough paper for a specific part, you can leave it to figure out later.

Several features make this one of my favorite models. The distribution of layers in the body allows the shell to be lifted from the belly, and the hind flippers are folded with a triple interlocking flap sequence.

Free-folding with a small piece of paper, I realized I could create a shark with the dorsal fin in the center of the paper and the pectoral fins on opposite corners. With that determined, it was only a matter of finding the right grid. I chose a ten by ten grid and the proportions turned out relatively accurate. Conveniently, I folded the extra paper at the head area into the five gills. The belly is locked by sinking one side and inserting the other side into the resulting pocket. Instead of doing a color change for the white underside, I substituted the look with an edge along the side.

When I designed the fur seal pup, I wanted to create a design that had no visible openings from any angle. Often origami models suffer from a large opening that is visible from a certain angle. The solution in this model was to turn the neck into a closed cylinder, forming the head by pinching and collapsing the end of the cylinder. Although the flippers were shorter than desired, I achieved the 3D form I initially set out for.

2020

The white sea bass is fairly large fish, around 3 to 4 feet long. I remember encountering my first one in a deep kelp forest off a local beach. The fish may have been curious since it seemed like it swam over to me to investigate.

I’ve been meaning to create this design for several years. The model utilizes a gridded base to form the structure of the fish.

Starfish

One uncut square

Diagrams in Marine Origami

2018

Unryu Paper

Yellowtail, 2023

Designed and folded by me

The octopus utilizes a box-wrapping technique similar to the cuttlefish design, but eliminates the side fins of that design. The symmetry rotates onto the diagonal axis in order to produce enough paper for the eight tentacles. I keep the head and the tentacles on separate planes because it makes each feature more pronounced. The initial design added unnecessary collapses to the tentacle layers, and upon realizing this in a later fold, I redesigned a simpler base.

Originally I aimed to create a leatherback turtle, but it appeared that it would be easier just to design an adult green sea turtle. The model is based off a preliminary base with the fore flippers on opposite corners and the head in the center of the paper. While folding the model I realized that turtles are not in fact green; only the common pet red eared slider is green when young.

Designed 2016, Refolded 2022

Paper, manzanita wood

Diagrams in Marine Origami.

2021

2020

Thai Mango

A simpler version of a previous design, this octopus utilizes the paper more efficiently to create longer tentacles. The relaxed pose and careful shaping lends to the specific look I aimed to achieve in this piece.

Designed 2016, folded 2022

From Marine Origami

2020

Lokhu Paper

7 in × 7 in × 2 in

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.

2021

Free diagrams available in diagram section.

2017

Ingres Paper

9.5 in × 5 in × 2 in

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.

2019

Tant paper

11 in × 5 in × 3 in

This panther design is an exceptional example of the importance of shaping to obtain a desired appearance. The repetition of the sharp shaping angles in the limbs and midsection create a distinct aesthetic quality—one that exemplifies the power and strength of this subject. From the three triangular layers above the two limbs and behind the ear to the minute details in the face, all design features were chosen to refine this specific look.

The panther design is symmetric across the diagonal axis, allowing proper paper distribution for the head and tail. An edge graft is added to distribute paper for the head. While the design is not as efficient as some of my other pieces, the panther still presents an interesting shaping concept that is worth sharing.

2018

Golden River Leather Paper

6.5 in × 4 in × 1.5 in

One of the first pieces I designed in my animal 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.

2019

Ingres & Unryu Paper

7.5 in × 5.5 in × 3 in

The sheep is an excellent blend of 22.5° design and color change technique. The base features a similar concept as the one found in the cow in which the main body faces are split from the axis at 22.5° angles to distribute paper towards the front. An important objective during the design process was to imitate the natural appearance of the body and wool. This was achieved by using internal lines to mark the distinction of the limbs and carefully using the color change to portray the wool.

2019

Ingres Paper

7 in × 7 in × 3.5 in

The beauty of this piece begins in the intentional symmetry of the legs, creating a distinct section that is divided by a diagonal line running towards the head. The valley folds on the head form an abstract and simplistic interpretation of the face, while the horns and ears add the distinctive characteristics of a goat. The finished design is easily identifiable, yet retains a simple stylistic nature.

2020

Satogami Paper

9 in × 6 in × 2 in

The goal of the piece was to capture the look of a generic dog in a clean, efficient design. In order to do this, the visual faces of the model should only include what is necessary—no extra lines or creases. In addition, the proportions should be as accurate as possible. This proved to be no easy task.

The dog requires a multi-step collapsing sequence that forms the structure of the body and legs. The main body face slants at a 22.5° angle, overlapping an inner horizontal layer to form an abstract and minimal version of the dog’s torso. The neck and head are thoughtfully positioned to express a ready pose. Two notable shaping folds elevate this design: the mountain fold above the front legs revealing the neck, and the reverse folds forming a simple kite shape to represent the ears.

2020

Lama Li Lokta Paper

7.5 in × 4.5 in × 2 in

There are some subjects that are challenging due to the wide variety of forms and details that can be selected by the designer. The orangutan is one of those subjects. After testing various shaping details, I settled on the male version because the head structure naturally formed a triangle at the neck area for the throat sac, and the head flaps could be shaped outwards to form the wide cheek pads. The arm flaps were subsequently arranged to maximize the surface area. One of the strengths of this piece is the ability to express different features in a hierarchy of layers—the head and neck layer is positioned atop the chest layer, which looks as if it is hovering over the main body layer. This layering improves the three dimensional appearance of the frontal face which is so critical in this specific model.

2020

Paper

11 in × 3 in × 3 in

Designed on the year of the rat, this model attempts to capture the form of a rat as realistically as possible, while maintaining a degree of abstract minimalism. The design required numerous iterations to get the proportions right. I settled on an 8 x 8 grid which gave me enough paper to form each body part accurately.

2020

2020

Foil Paper

4.5 in × 1.5 in × 3 in

A welcome change from the mammal models, the draft of the bird was unexpectedly completed on my first attempt. Like the other pieces in this series, the goal was to convey simplicity by depicting the body with simple shapes. The wing is minimized to a basic kite shape that is positioned behind another face that represents the head and neck. The back layer forms the structure of the body and produces an acute triangular tail. In addition, the abdomen is a right triangle that utilizes the opposite side of the paper for a color change. The finished bird design is a surprisingly efficient model that displays playful simplicity.

2019

Ingres Paper

5.5 in × 9 in × 2 in

I decided to model my rabbit design on a wild hare. The hare’s long legs and tall stance allow it to have great speed and visibility as a wild prey animal. With this in mind, I organized the lines and creases to reflect this specific pose. The long lines forming the front legs extend from a point in the back, the back legs are positioned lower, and the feet are folded using simple mountain folds. The internal lines are framed within parallel 45° lines that angle the body in an alert and ready pose.

One square sheet of kraft paper

An early design integrating a triangular grid inside a square grid.

2019

2022

2022, 2021

2021

Designed 2022

2023

2023

2023

2024

Biotope paper

2023

Feb 2022

2024

Biotope

Tiger

Designed 2023, folded 2024

2023

20 in x 20 in foil

Condensed diagrams in my book, Natural Origami (2020)

2018

Kami paper

4 in × 2.5 in × 1 in

The dragon is a beautiful and successful example of simplicity. The design simplifies the dragon form, combining the tail and hind leg, and the wing and arm with 22.5° shapes. The parallel horizontal lines and slight forward lean cultivate a sense of motion. The white abdomen section adds an interesting color change. In addition, the model is a delight to fold. A straightforward precrease is followed by a series of multi-crease collapses, resulting in minimal shaping. The dragon remains one of my most successful simplistic designs.

2024

One uncut square of Korean hanji

2024

VIntage green apple paper

One uncut square of biotope paper