Crease Pattern FAQ
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Re: Crease Pattern FAQ
There's nothing wrong with that. It takes practice to solve even a simple CP.
Is your issue with reading them?
Is your issue with reading them?
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Re: Crease Pattern FAQ
I dont get how you fold the circles in cps, or how they help.
Re: Crease Pattern FAQ
You don't fold the circles, it is only useful during the design phase, when working from "stick figures" (it is something like circle radius ≡ flap length, but the CP experts could tell you more).
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Re: Crease Pattern FAQ
The circle are used in the design process of "circle packing". The circles represent flaps, the centre the top of the flap, the radius is how long the flap is, and the circumference is the end of the flap. The reason why circles are used is because as you thin a flap and fold it down, then unfold, you will see a 2D shape appear. As the flap becomes thinner, the shape that you will see appears more and more similar to a circle. This is gone over in much more detail in ODS.
Re: Crease Pattern FAQ
Hi, I've been trying to collapse some boxpleated CPs, but I don't know how to form middle flaps neatly. This would've been explained in detail in Gerwin Sturm's BP guide part 5, which doesn't exist yet. Because of that, middle flaps kills me everytime. Does anyone know how to form these middle flaps neatly?
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Re: Crease Pattern FAQ
All I can say is to take your time and fold accurately. Most middle flaps aren't that difficult to fold out once you're used to it, but anything longer than a few units can be really frustrating.
Is there a particular model you're having trouble with? There are a couple different ways of folding middle flaps, and it really depends on the location of the flap in the model:
1) Collapse a waterbomb base at the center of the flap and sink or reverse-fold the layers in and out. This is the easiest method IMO, and it's best done with flaps near the center or at the beginning of a collapse.
2) Gently ease the layers together, starting from the middle of the flap. This is a little harder.
3) Fold out one side as you would an edge flap, pleating the layers on the other side of the middle flap. Then squash and unsink the pleated layers, Elias-stretching them until you have the flap the correct length. This is the hardest method I can think of, but it can be really useful when a flap is locked inside another.
Is there a particular model you're having trouble with? There are a couple different ways of folding middle flaps, and it really depends on the location of the flap in the model:
1) Collapse a waterbomb base at the center of the flap and sink or reverse-fold the layers in and out. This is the easiest method IMO, and it's best done with flaps near the center or at the beginning of a collapse.
2) Gently ease the layers together, starting from the middle of the flap. This is a little harder.
3) Fold out one side as you would an edge flap, pleating the layers on the other side of the middle flap. Then squash and unsink the pleated layers, Elias-stretching them until you have the flap the correct length. This is the hardest method I can think of, but it can be really useful when a flap is locked inside another.
Re: Crease Pattern FAQ
Is number 3 like doing Brian Chan's Water Dragon's legs?Baltorigamist wrote:All I can say is to take your time and fold accurately. Most middle flaps aren't that difficult to fold out once you're used to it, but anything longer than a few units can be really frustrating.
Is there a particular model you're having trouble with? There are a couple different ways of folding middle flaps, and it really depends on the location of the flap in the model:
1) Collapse a waterbomb base at the center of the flap and sink or reverse-fold the layers in and out. This is the easiest method IMO, and it's best done with flaps near the center or at the beginning of a collapse.
2) Gently ease the layers together, starting from the middle of the flap. This is a little harder.
3) Fold out one side as you would an edge flap, pleating the layers on the other side of the middle flap. Then squash and unsink the pleated layers, Elias-stretching them until you have the flap the correct length. This is the hardest method I can think of, but it can be really useful when a flap is locked inside another.
I'm having trouble with Petr Stuchly's Fiddler Crab, but before this I was having trouble with Lang's Aedes aegypti as well. Here's what I'm talking about: https://www.flickr.com/photos/petr-stuchly/4666289849
See that group of 6 middle flaps at the top? It makes me want to pull my hair off.
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Re: Crease Pattern FAQ
I haven't seen the diagrams for that model, only the CP, but I imagine it is.
That crab is a model where it looks like you'll have to use method 3. Personally, I would fold the two sets of flaps on the sides first and then collapse those into the two central flaps.
That crab is a model where it looks like you'll have to use method 3. Personally, I would fold the two sets of flaps on the sides first and then collapse those into the two central flaps.
Re: Crease Pattern FAQ
Many complex CPs do not indicate mountain and valley lines. I would like to know how to find out which one is mountain or valley lines. Is there any general principles or rules?
Re: Crease Pattern FAQ
can i get help folding quieten gray wolf from cp
Re: Crease Pattern FAQ
No rules because it could be the same colour both sides which means thats easier to fold than duo coloured paper,you flip it over.of the paper is strong enough .Some authors ive found the mountain fold is closest to the edge , but there are many exceptions with human subjects and c.ps with level shifters.look for sinks and rabbit ears too those are rarely placed upside-down .jeffng wrote: Many complex CPs do not indicate mountain and valley lines. I would like to know how to find out which one is mountain or valley lines.
Is there any general principles or rules?
Colour change c.ps are not necessarily white side up or indicated by colour, in the case of leg colour changes with insects it could be that the outside line is valley .Or check out the authors other videos or designs to establish if it's colour side up .I've wasted expensive paper due to this fact .One thing that is predictable is that a designer usually sticks to a successful formula .If his acclaimed subjects are white side up he'll never change due to notoriety . imagine how upset the fans would be if suddenly he changes to colour side up ? Right ,how confusing .?I bought the book .I thought I could rely on this guy