On Thu, Oct 11, 2012 at 3:46 AM, Hans Dybkjær <[email protected]> wrote: > > These are both something folders need to learn. Though usually I have the > opposite problem of (1), i.e. beginners make too soft creases and fold too > casually, too eagerly, faster than they can manage.
I might have experienced the opposite more because I passed around a bunch of bone folders and other DIY bone folding tools to them! I will not do that again. > The case of too sharp creases are more common with more advanced models like > masks, though I often tell people folding a traditional jumping frog that > they should not make the springy folds of the jumping back legs too sharp. > You might call this "fold control" or "don't overdo the folds", or "do not > commit a fold until needed". I like "fold control." I used the traditional frog to illustrate the same point. > I also agree about (2) which is prominent in the traditional crane. Here I > often explicity tell students to leave up to a millimeter in the tail and > neck thinning (but still to the point) so that the reverse folds come out > easily and nicely. > I see this as a different problem, namely that of "anticipating the folding > sequence" and/or "compensating for the thickness of paper" (which is a > general issue). I was, in fact, referring to the traditional crane as you might have guessed. I agree on both of these points. At the same time, my experience was that it also took a long time to realize that folds--many of them--don't need to be made with machine-like precision. It can not only cause practical problems with the later folds, as with the crane, but it takes the enjoyment out of the process for those who are nervous because they know that can't be perfect! Dealing with creep due to the thickness of paper is clearly another topic beginners need to have some sense of. I have some experience with this from other aspects too, such as book binding where it is a big issue. > "Anticipation" maybe the more generic term. Understanding what role a fold > will have later in the folding sequence and in the final model. > Another example, again from the masu box, is the initial book folds: > > a) Realise that you only need 1/4 of the fold in each side, so that the box > ends up with a clean bottom (or lid). > > b) Realise that when you assemble the box, these book folds end up as > mountain folds, so you should turn over the paper before you do them. This > will also make the assembly easier. A represents, to me, another fundamental lesson that in perl progamming is referred to with the shorthand: TIMTOWTDI ... there's more than one way to do it. It's easy to become overwhelmed with the complexity and forget that there are refinements even with "simple" models. Getting a clean bottom on a masu box is a great example where one can see very simply how the diagram might be the best attempt at making things easy, but a small tweak improves things quite a bit. > And back to your original question, yes, a "folding school" vocabulary with > illustrated exercises would be nice. Also difficult as you would have to > decide on the folding level and prioritize what order to tell this. > I do believe that if you look around, much of it does exist in different > places. In my own beginner's book I've tried to include "technique boxes" in > appropriate places along with the models, starting with the elementary "how > to make a diagonal fold". And, by the way, instructing people in doing > careful, sharp creases (as I said above, in my experience beginners, at > least in Denmark, have more problems failing to make sharp creases than the > opposite). Which book are you referring to? Is there an English language version? This might be a good topic for Nick Robinson's Origami Didactics forum. I'm actually thinking in the context of potentially developing an origami-oriented open education "course" ... I don't have the skills to get too advanced with it, but something for beginners that delved a little into origami history and simple folds, with techniques like these folded into the creation of simple models. I could go on and get really boring about the pedagogy, since that's my job :), but the basic motivation for me is: I like exploring the space of open teaching and learning and I love origami and other paper arts, so why not work on both at the same time? And there are so many great resources that can be brought in from around the web, but not many in a sequence similar to that of a course... Cheers! c -- Chris Lott <[email protected]>
