Curvigami
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oriman 217
- Junior Member
- Posts: 67
- Joined: November 15th, 2008, 6:43 pm
Curvigami
I have guestions on how to do this can some one help me out sorry I dont know how to create a link
stay positive
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ftangdude55
- Forum Sensei
- Posts: 631
- Joined: August 9th, 2008, 12:53 am
- Location: Canada
- Contact:
This should help:
That is only one way of making a link. Here is the other way:
The word between the two "[url]" things is going to be the link.
Code: Select all
[url]http://www.generic-link.com[/url]Code: Select all
[url=http://www.generic-link.com]right here[/url]My Flickr
Hi! It's been a long while since I've been active on here. I deleted my Dropbox years ago, so some things, like my Dragonfly Varileg guide, are lost to time. I may still have other things, though! Email me if you have any questions.
Hi! It's been a long while since I've been active on here. I deleted my Dropbox years ago, so some things, like my Dragonfly Varileg guide, are lost to time. I may still have other things, though! Email me if you have any questions.
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oriman 217
- Junior Member
- Posts: 67
- Joined: November 15th, 2008, 6:43 pm
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Brimstone
- Buddha
- Posts: 1729
- Joined: November 23rd, 2004, 3:59 am
- Location: Colombia, South America
- Contact:
I attended a class with Saadya (the guy who does the curvigami) and he explained his method. You need backfoiled paper for this and the foil has to be very thick, thicker than commercial brands. He buys some special brand in Israel that is used to cover the kitchen during some period in which Jewish people clean their cooking implements.
From then on, it uses some basic references, but it is mostly pure artistic moulding, which Saadya does so well.
From then on, it uses some basic references, but it is mostly pure artistic moulding, which Saadya does so well.
Here is Saadya's Blog: http://origami-aesthetics.blogspot.com/
An article that he wrote: http://saadya.net/4OSME/CURVESandFLATS.pdf
Not sure if this Web site is current: http://www.saadya.net/homepage.php
But it has his email, so if you have a specific question, he might help.
BTW, cleaning in the kitchen may be for keeping kosher or for Passover. If you live in a large city, there may be some place that carries kosher kitchen supplies... but I doubt that you need something that specific. Foil-backed tissue may do just fine. Ask him.
- Hank Simon
An article that he wrote: http://saadya.net/4OSME/CURVESandFLATS.pdf
Not sure if this Web site is current: http://www.saadya.net/homepage.php
But it has his email, so if you have a specific question, he might help.
BTW, cleaning in the kitchen may be for keeping kosher or for Passover. If you live in a large city, there may be some place that carries kosher kitchen supplies... but I doubt that you need something that specific. Foil-backed tissue may do just fine. Ask him.
- Hank Simon
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oriman 217
- Junior Member
- Posts: 67
- Joined: November 15th, 2008, 6:43 pm
Hi folks.
A few clarifications. When I prepare foil-backed paper, my preferred foil is 100-microns thick aluminum. In Israel this is easy to come by, as it is the material the ultra-orthodox here use to cover their kitchens with during Passover (to minimize contact with ‘everyday’ surfaces). I have no idea where this stuff can found commercially in the US or Europe.
Foil is by no means ESSENTIAL to this style of folding; you can use plain paper too, either wet-folded or--with slight modification of some folds--dry-folding methods. But foil-paper is much better for exploratory work, since you can put in lines or curves and erase them much more easily. Once you know exactly what you are doing you can move to plain paper.
Nor would it be hard to specify precise reference folds for everything and rigorous initial dimensions for the sheet, instead of the indefinite rectangle I usually start with and the general techniques that are then applied to it (for making a nose, eyes, chin, hair etc.) But that would cut against the grain of this sort of sculpture, which is meant to be flexible and expressive—to allow all sorts of different faces to be made, and to leave the maximum scope for each individual’s touch.
I know that this is exactly opposite to the dominant trend in the origami of the last decade, which pushes for precise references and maximum uniformity of the end-product, whoever makes it. But that is deliberate. It does not make what I do therefore sloppy, inadequately-thought-out origami. On the contrary I’ve spent years working out the absolute minimum number of folds needed to produce a given facial feature, folds that produce the minimum number of unwanted creases and deformations, and that keep the number of layers as small as possible (necessary for working with thick materials like stiff foil). The resultant basic toolkit, which anyone can learn, is a series of short steps for each feature, short enough that if you don’t get a good outcome the first time around, you can practice it over and over till you get it right. That seems to me preferable, or at least a fair alternative, to one very long series of steps that locks you in to a particular form.
It would not be accurate to say that ‘only Saadya can use these techniques to such terrific effect’, as I think Brimstone implies. The class I gave in Leon, Spain may not have been as successful as I might have liked, for various reasons, but I’ve taught these same techniques to others, with results that have left me utterly surprised--and proud.
Saadya
A few clarifications. When I prepare foil-backed paper, my preferred foil is 100-microns thick aluminum. In Israel this is easy to come by, as it is the material the ultra-orthodox here use to cover their kitchens with during Passover (to minimize contact with ‘everyday’ surfaces). I have no idea where this stuff can found commercially in the US or Europe.
Foil is by no means ESSENTIAL to this style of folding; you can use plain paper too, either wet-folded or--with slight modification of some folds--dry-folding methods. But foil-paper is much better for exploratory work, since you can put in lines or curves and erase them much more easily. Once you know exactly what you are doing you can move to plain paper.
Nor would it be hard to specify precise reference folds for everything and rigorous initial dimensions for the sheet, instead of the indefinite rectangle I usually start with and the general techniques that are then applied to it (for making a nose, eyes, chin, hair etc.) But that would cut against the grain of this sort of sculpture, which is meant to be flexible and expressive—to allow all sorts of different faces to be made, and to leave the maximum scope for each individual’s touch.
I know that this is exactly opposite to the dominant trend in the origami of the last decade, which pushes for precise references and maximum uniformity of the end-product, whoever makes it. But that is deliberate. It does not make what I do therefore sloppy, inadequately-thought-out origami. On the contrary I’ve spent years working out the absolute minimum number of folds needed to produce a given facial feature, folds that produce the minimum number of unwanted creases and deformations, and that keep the number of layers as small as possible (necessary for working with thick materials like stiff foil). The resultant basic toolkit, which anyone can learn, is a series of short steps for each feature, short enough that if you don’t get a good outcome the first time around, you can practice it over and over till you get it right. That seems to me preferable, or at least a fair alternative, to one very long series of steps that locks you in to a particular form.
It would not be accurate to say that ‘only Saadya can use these techniques to such terrific effect’, as I think Brimstone implies. The class I gave in Leon, Spain may not have been as successful as I might have liked, for various reasons, but I’ve taught these same techniques to others, with results that have left me utterly surprised--and proud.
Saadya
Saadya - Thanks for the information.
I believe that these organic approaches are developing growing interest. Across this Forum, in different topics, I've seen interest in your style, Giang Dinh's style, Bernie Peyton's style, and renewed interest in Yoshizawa's techniques, and Michael LaFosse's techniques.
I like them because they are more accessible to individual expression, than the very complex, precise styles. (I also like the simpler, precise styles, because, sometimes it is good to follow a recipe...)
Please keep up the art and the instruction, because it does help the rest of us grow in Origami potential.
Thanks,
Hank Simon
I believe that these organic approaches are developing growing interest. Across this Forum, in different topics, I've seen interest in your style, Giang Dinh's style, Bernie Peyton's style, and renewed interest in Yoshizawa's techniques, and Michael LaFosse's techniques.
I like them because they are more accessible to individual expression, than the very complex, precise styles. (I also like the simpler, precise styles, because, sometimes it is good to follow a recipe...)
Please keep up the art and the instruction, because it does help the rest of us grow in Origami potential.
Thanks,
Hank Simon