Manta Ray (September, 2006)

Base Crease Pattern

Because the complexity of these models creates the need to "constrain" multiple layers of paper to hold their shape, they are all the product of either tissue-foil or wet-folding.  The former relies on the aluminum foil sandwiched between two layers of tissue (hence the name) to keep the layers compressed, while the latter makes use of water, dissolving the glue already present in the paper which dries and sets the model in the desired shape.  Tissue foil is a handmade paper (for instructions on how to make tissue-foil, visit the paper section of Robert Lang's website) which I have almost entirely stopped using due to two negative side effects - the end product almost always looks at least a little wrinkled, and the foil washes out the color of the thin tissue paper.  Even though I have abandoned using it, this material did serve its purpose at the time - through its use, I dramatically increased my manual folding abilities and created many of my favorite original models, most of which I have since re-done by wet-folding.  Wet-folding is the technique of choice for most (if not all) of the worlds best origamists (instructions can also be found on Robert's website), but I find a more accurate term to be wet-shaping, since I dislike folding wet paper and tend to dry-fold as long as possible and only apply water at the final shaping stages (painter's tape is a wonderful thing - it can constrain the paper without sticking to, and tearing, it).  Suitable paper can be difficult to come by, which is one reason why I originally avoided this method - one solution I have found is treating paper with Methyl Cellulose, a glue used in book-binding.  I purchase it at Paper Source, which also has an instructional video on preparing the MC.  A readily available paper for this method is standard tissue paper, which I originally learned from Bryan Chan's website, specifically from his Praying Mantis design.  Using a foam brush, I apply the Methyl Cellulose to the tissue paper on a mirror - a trick I learned from Robert Lang, which he, in turn, learned from Michael LaFosse.  The glue-soaked-paper does not stick to glass.  The trick is to apply it without wrinkling or tearing the tissue - I can offer no advice on this other than try it many times - there is no substitute for experience.  The resulting paper is extremely strong and durable, while staying remarkably thin.  The only major problem I have found with this material is that it has a tendency to wrinkle - this applies both to the final wet-shaping stages of a model (especially if the model has large, flat features) as well as the original application of the MC to the paper (especially if the application is to paper of more than 12" side length).  Using other types of paper can solve this problem - I have most recently become fond of mulberry paper, which can be found in many varieties at the Handmade Paper Superstore.

The other artistic skill represented here is photography.  My goal in this area is to enhance the folded model by using light and shadows - if the photograph looks better than the actual origami model, I feel that I have accomplished my goal.  I have no official training in this art, but my brother, Steven, does - some of the pictures have been taken by him but, more recently, I have been trying to learn the principles for myself (since he lives 5 hours away, it is not expedient to rely on his notable talents in this area).  My skills are improving, along with the quality of equipment I own, so most of the pictures are taken by me.  I have also provided pictures of the real thing I was trying to re-create, along with (when necessary) links to the websites where I found these pictures. 

I also have many more pictures of models designed by other artists, but still folded by me.