Torch Ginger (December, 2007)

Base Crease Pattern

The torch ginger is probably the most striking flower I have seen - the grapefruit sized flower sits alone atop a single red stalk (hence the name).  It is difficult for me to describe what this model means to me as an origami artist - this is, in many respects, the current pinnacle of my design efforts.  There are three reasons for this statement:  I) complexity of design - while not technically the most complicated of my designs, this model is still highly complex, while remaining efficient and elegant.  In fact, I folded this model at a point where I was in doubt as to my ability to complete it - I almost threw the first one away and was completely surprised when I was actually able to finish it.  The degree of success I experienced upon its completion is, for me, unmatched.  II)  Subject matter - origami is, in essence, a re-creational art in the sense that every model is a reproduction of "something" - this means that the end product can only be as impressive as that which it was meant to represent.  Since the torch ginger is my favorite flower, and flowers are my favorite origami subject, it stands to reason that this design will endure as my all-time favorite.  III)  Execution - design can only be reflected through the precision of execution.  Of all the models I have folded (whether my own or from diagrams of other artists) this model is, in my opinion, the closest I have come to the real life thing.  This claim is reflected in Robert Lang's own comments about this creation of mine - he stated that "[this] is truly stunning. It represents a new level in your folding. Your previous work was very nice, but this one is just way outside of anything I’ve ever seen by others. You’re really onto something unique and powerful with your flower work, so I hope you’ll continue in this genre".  What else can I say? 
 

Iris (December, 2007)

Base Crease Pattern

I have always liked the traditional iris, but I decided to make one that was a little more accurate.  In some ways this design, like my lotus, is a variation on my hibiscus - I used a very similar design approach, but the shaping folds needed to produce the end result were distinctly different.
 

Camel Spider (November, 2007)

Base Crease Pattern

Even though this arthropod is called a camel spider, it is not actually a spider.  This is the third design of mine that was inspired by a Discovery Channel show - Bear Grylls ate one of these on Man vs. Wild.  I don't think I would enjoy that as much as I enjoyed designing and folding this model.  Even though I was pleased with this creation at the time, I have currently redesigned it - I was originally very proud of the base, which incorporates rivers that provide legs (of correct proportional length) joining the body with a staggered progression while running through the center of gusset molecules (these are particularly difficult to fold).  I have resolved other issues, and used methyl-cellulose treated tissue paper (instead of tissue foil), to create a much better version.

Alaskan King Crab (September, 2007)

Base Crease Pattern

This is another design that was inspired by a Discovery Channel show - this time it was The Deadliest Catch.  The distinguishing characteristic of this model (compared to other crab models out there) is that it only has six legs - most origami crabs (like most real crabs) have eight legs.

Lotus Flower (August, 2007)

Base Crease Pattern

Flowers have always been my favorite category of origami models and have turned into my signature series.  While my Hibiscus began this trend, my approach to flower design really began with this model - if you inspect the Hibiscus crease pattern, it is clear that the circles are not at a rotational off-set from each other as they are in most of the flowers I have designed.  In addition to the design aspect, the lotus is one of my favorite flowers, so it was an obvious choice.  I have since re-folded this model using methyl-cellulose treated mulberry tissue paper.

Heliconia (July, 2007)

Base Crease Pattern

Fan Palm (April, 2007)

Base Crease Pattern

Walking Leaf (March, 2007)

Base Crease Pattern

Hibiscus (February, 2007)

Base Crease Pattern

Long Necked Seed Bug (February, 2007)

Base Crease Pattern

Greater Bird of Paradise (January, 2007)

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.