more on drawing and paper folding...

Some links to explore:

"Architecture and the Lost Art of Drawing" article by Michael Graves located here

paper engineering work by Matthew Shlian short video located here and check out his website

origami folded and unfolded just for fun here

No matter where you go - there you are.

I've been becoming increasingly more concerned about how it is I plan to replicate my models with any amount of understanding and accuracy. So after many folds and scores and cuts, my goal now is to envision a path or movement I would like the marble to undergo and create a surface on the page to foster said movement. In this way I am using an economy of folds and attempting to therefore simplify the process of rebuilding my models. 

In this model I've planned for a circuitous route along the perimeter of the page. I also experimented with a number of deflecting surface types. And, of course, various rhythms and contrasts in shape and form.  You will also notice a marked increase in guidelines and measurements. Making note of these has helped with translating the fold pattern.  They are also very helpful references as to how to improve the quality of future builds. A few tips: 

-Establish a front and back of the page: This aides in the direction of folds and many other ambiguous movements that may be prescribed for your model.

-Think about incorporating various line types AND colors. For me, I am using line type for what action I want the user to impart onto the page (fold, cut, score, etc.) and color refers to the Front or Back of the page. In this image I have not used color yet but if you are wondering, I plan on using red and green to denote which side of the page is which. Feel free to use the same. Or explore any other color pairings as you see fit. 

-Lastly, the order of operations. Consider how important they are when constructing your models. I personally have a self-imposed goal that these models can be disassembled on an as needed basis. And I found that when reassembling my models, my initial step need not necessarily be done first ALWAYS.  In fact, in this particular example (above), the first step could easily be done last.

This model utilizes the least number of creased folds (6) and cuts (4) thus far. It also achieves all three of the movements we are seeking in this exercise.  -- I know, I've already patted myself on the back. But thanks anyway. 

Breaking the project apart - making it whole again

Part of the challenge for me in completing projects such as this is deciding how to limit the scope of my explorations. Given the written assignment, and some intuition about what our instructor wants, I am still left with a huge number of approaches. Should I interpret the rules creatively? There is something to be said for this; however, there is also something to be said for exploring the material specified by the rules. Should I make one module which carries the ball at one speed, one at another speed, another to change direction, and so forth? Should the exercises follow each other or depart radically?

It is easy to get overwhelmed by even the initial explorations. In class, I learned that the paper could be crumpled to give it more structure. However, I soon learned that this structure is not very useful - it gives a small amount of stiffness in all directions at the expense of really useful stiffness in one direction.

Joining paper leaves you with a lot of options as well. Paper can be woven and interlocked and affected in multivarious ways to create a lot of formal effects, but which of these really serve a small kinetic figure? Again, the explorations need some sort of evaluation, even a very vague one, to make them meaningful.

I was caught between doing a million things with paper and trying to apply them to a million types of marble movement, but my limiting both ends of the equation I have developed a palette of paper operations, excuse the language, which allows me to make the movements I want to make with perhaps less flair but a little more elegance. I look forward to seeing everyone else's work.

Project One!

 First model began exploring symmetry and multiple paths for the marble to follow. This one starts, changes direction and comes to a stop.

 Third model started using multiple sheets of paper. This one starts, changes speed and comes to a stop.

 Second model began looking at a non symmetrical construction. This one the marble starts and comes to a stop.

Let me know if anyone has any suggestions, or if I should develop a one of the concepts more in depth. 

Thank you!

Project 1- ideas

"studying the limits and potentials of materials"
"exploring spacial relationships and ordering systems"
"think about the inherent qualities of the material you are given to work with and ho you might employ them in order to achieve your goal"

^ are what I highlighted as especially important/ want to keep looking back at through out all the steps of this project


Works by Richard Sweeney
-from his Surface Modulation set
-these pieces are done on canvas...not on paper but the way he set up the surface of the material  with a grid system has me thinking of ways to make the paper for my models more organized, and the folds/surface manipulations more purposeful and ordered

Surface IVSurfaceIII

From the Motion Forms Set

-here Sweeney uses watercolor paper in his study of motion
-his purposeful folding and also the way he was able to make a continuous set of folds folds into smooth curves can be relevant to all three project one models since the gradient of the folds and curves can direct the motion and speed of the marble



Link to the artists website, includes more of his works
http://www.richardsweeney.co.uk/menu.html

Did you hear about the Origami business? - - It folded.

Searching through loads of origami.  If you don't have experience making an origami object, it may be worth your time to try to make something. There are several types of folds in origami but they all come from the Mountain and/or the Valley fold.  Their names hold no mystery. Up or down.

After experimenting with various origami animals, containers, flowers, etc., I found a few folds onto itself created load bearing areas within the paper plane. These areas aided in creating the desired dimension for the resulting object. Very satisfying. 

Here are a few sketch models for a container structure. One of the requirements for many origami objects is for one to start with a square of paper. This larger container is made from an 11" square.  

This container is made from the 6" scrap. (Same marble featured in both images)

Scale of the resulting object is clearly very important. Not only did I learn a lot about basic origami instructions, I am now experimenting with various scales for the marble's movement.





This container I think may be overly complex to serve as the best solution for this exercise. The marble doesn't seem to need very much to start or stop. Time to simplify...

This model utilizes the entire 11 x 17 sheet and you'll notice the large planes of paper left uninterrupted by a fold.  I wanted to simplify the boundaries and experiment with how much the marble would cause the paper to deflect. I reduced the incline of the start plane, and provided a large area for the marble to travel. With this combination of variables, the marble starts slow and has plenty of space to decelerate before colliding with the vertical, triangular surface at the end of it's run.  F=MA.  Very simple really. 

This is a closer view of the start plane at the top of the model.

In this model I used many of the same visual elements from the last model.  This model is however much smaller and intimate in scale. The larger one was more of a courtyard for the marble while this example is more of a small room. I am beginning to find that I selfishly prefer models that are open. So that I can see the movement of the marble. (And relish the results of this basic experiment :)

 You all may recall an interesting translucent effect that one of Elvis' class solutions had. I decided to experiment with that in this model as well. Also have a look at the torn edge of paper in the upper right corner. Interesting contrast. No?

There is so much more to consider and experiment with.  Let me know what you all are responding to in these few examples.

Marble Fun

Structure through folding

I have been looking at the work of the sculptor Richard Serra. Although Serra works predominatly in steel and other industrial, heavy materials, I think his work and gesture is relevant for our study of folding the paper. We might be folding paper but Serra is essentially offering the same gesture except in a different medium. Through giving rise to these structures he is creating space. There is an inherent sense of motion and scale within his work.

 Richard Serra, Juncture 2011

The subtle "pinches" in Serra's work create complex curvatures and a sense of motion.
I have been assembling a series of sketch models that also explore this notion of folding to create structure. I have tried a variety of different sizes, number of folds, fold sizes, cuts within the folds, and combining models together. I plan on affixing ramps or movement planes to these "structures" in order to make the marble move.

Sketch models of all shapes and sizes - showing folds giving rise to structure.

Frozen Paper

If you want to cool something down fast (ice cream mix), you can wrap it in wet paper towels and throw it in the freezer. I took this out a few minutes ago and was struck with how easily this paper took on a rigid shape. Unfortunately, it has now melted.