Dedicated to Delrosa Marshall, Captain of the Butterfly Team, who along with Jan Polish, June Sakamoto, Sok Song, and their unsung teams of volunteers from OrigamiUSA, worked tirelessly for an entire week to fold these amazing butterfly designs, and other models, for Carrie Llanes’ special origami-themed room, featured on ABC TV's Extreme Makeover: Home Edition, 9/17/2006. (c) 2007 Origamido, Inc. Haverhill, Massachusetts 01832 Alll rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and every effort has been made to ensure that credits accurately comply with the information supplied. www.origamido.comMichael C ae Origami Bucerthtes A Field of Discovery Through a System of Design by Richard L, Alexander & Greg Mudarri a production of}Table of Contents & 1 INTRODUCTION What's So Special About Origami Butterflies? About This Book History 2 THE SYSTEM Diagram Key Butterfly Base Variable 1 Paper Dimensions Variable II Upper & Lower Margins © setcer se Variable III Color Ghange Variable IV Wing Details Wing-notch detail Butterfly head details ® Abdorsinal taper NO ® & wll 2 wld wl lb 22 24 26 28 2303 DIAGRAMMED MODELS A Butterfly for Alice Gray ‘The Lillian Emiko Fritillary Alexander Swallowtail Alexander Aztec Swallowtail ‘The Baxter ‘The Michael Shall ‘The Temko Origamid3 Butterfly ‘The Joyce Rockmore The Nolan Mudarri Luna Moth LaFosse’s Moth Evangeline Fritillary LaFosse’s Dollar Bill Butterfly 4 INSPIRATION The End seeFe G92 102NTRODUCTION HAT'’S SO SPECIAL ABOUT ORIGAMI BUTTERFLIES? ‘There are many reasons we are fascinated by origami butterflies, but the simplest is that butterflies are beautiful. Beauty alone, however, docs not explain our fascination, Surely, there must be more to it. Everybody can relate to the butterfly. They are found on every continent, except Antaretica, and they are as varied and as interesting as you can imagine. Learning the lesson of metamorphosis, the transformation from caterpillar to butterfly, is ‘one of life's most basic experiences. How could anyone that witnesses the emergence of a beautiful, delicate, winged creature from a chrysalis or cocoon not be thoroughly amazed and captivated by the changes that must have taken place inside? ‘This metamorphosis has been used to symbolize any profound growth, maturation, or change. It also symbolizes freedom or emancipation. In fact,Origami Butterflies it embodies the fecling of joy we get from escaping confinement of any sort, All of us can relate to the exhilaration of finally having enough physical space, or emotional elbow room, to stretch our wings and let our human spirits soar. Origami, or paper folding, is a metamorphic art From a single sheet of paper, a beautiful object emerges with only folding ~ no cutting, no glue Unlike applying paint to canvas or chipping away stone, with origami, nothing is added nor removed, simply transformed. That does not mean that it is easy. The transformation of a single piece of paper in the hands of an origami master into a beautiful origami butterfly is often the result of intense, mental concentration. As the origami butterfly takes shape, the transitional forms are less than elegant, but in a few minutes, the magnificent result of so much hidden thought, planning, and skill emerges. Butterflies are pollinators, and have become a symbol of communication and sharing, Origami is a quiet and peaceful activity. The gift of an exquisitely-folded origami butterfly says a lot!BOUT THIS BOOK This book describes Michael G, LaFosse’s system for making a series of beautiful, and often unique, for folding an unlimited variety of origami ‘origami butterflies can be fairly easily understood butterflies, What is a system? A system is simply by most people, even at a young age. Each step a collection of items, components, or decisions presents choices which result in different outcomes. that depend upon each other. Few origami Explore this system to discover patterns and animal models, but many modular creations, are properties that please you. It helps to color certain developed as a system. Modular progressions, sections of the folded butterfly, then open it to see such as those folded and displayed at origami where those fields originated in the square. conventions by Michael Naughton, of Turner's, Falls, Massachusetts, and others, show intermediate models as steps between two extremes, usually by altering a single variable, Michael G. LaFosse’s origami butterfly design system has always been fascinating to me, since my study of biology at Cornell University focused on the field of Systems Ecology, and all of my employment since then has involved analy ing, improving and developing new systems, Tt was logical for me to put Michael's approach in print as a system, rather than publishing stand-alone diagrams of individual models without the context of explaining their underlying similarities. In one sense, the LaFosse origami butterfly design system (he has also called it his Field of Discovery) is refreshingly straightforward, since it is sequential and one-way. ‘Many origami models are learned by following, Michael wants people to understand what is going on, and impart their own choices, and not just to copy his exact moves. And unlike struggting to understand complex ecological, or human bio- feedback systems, taking charge of these techniques 6IsTORY Michael G, LaFosse grew up in Fitchburg, Massachusetts. His parents, grandparents, aunts and uncles encouraged the LaFosse children to make things, and Michael was particularly good at making things of paper. He devoured the origami books at his local libraries, folding the models and making his own modifications. In 1970, an article reprinted in Readers Digest about the works of Origami Master Akira Yoshizawa transformed this avid teenage paper folder into an origami artis. Luckily, Fitchburg was a paper-making town, so ‘Michael was able to glean sufficient information about the paper making processes, and the materials to make whatever types, weights, and colors of paper he needed for his art. The Boston area also had several antist/paper makers, including the Koretsky’s of Carriage House Papers, and Rugg Road Paper, both then located at the Brickbottom artist space in Somerville. ‘The origami books at the time had referenced the Origami Center of America, operated by Lillian Oppenheimer from New York Gity. In 1977, when Michael was in his second year of college, he accompanied a friend to New York, and while there, called, then paid a visit to Lillian, A short time later, he went to New York alone to show her his own origami creations: a realistic bat, orchid, horseshoe crab, his complex praying ind several lifelike birds. Lillian was so taken by his work that she called several friends to come to the Center to see the works and fold with Michael. He spent a week on Lillian’s couch, and ‘met Michael Shall, who taught him how to fold Akira Yoshizawa’s butterfly from a waterbomb hase. During this visit, LaFosse created his famous hummingbird. He also met Alice Gray, the noted entomologist from the American Museum of Natural History. As he and Alice rode the subway to the Museum, Michael folded his first origami butterfly from an 8 2” x 11” rectangle. Alice said it was nice, but suggested he fold it from a square. At this tim dismissed by many whose conception of origami el Shall considered LaFosse’s works as “paper sculpture”, not origami, so the two ceased communication until 1992, Even so, LaFosse was still actively creating origami, and even published a book of drawings to fold his F-14 Tomcat Fighter origami jet airplane, », Michael’s complex models were was limited to two dimensions. M I met Michael in 1988, when he was working as a chef. I remember seeing piles of crumpled paper in his apartment, and was overwhelmed by the beauty and complexity of his origami masterworks that he showed me, each nestled in clouds of tissue paper in a collection of oversized cardboard shoeboxes. 1 thought immediately that this work was spectacular, and that he was likely pushing the envelope of the art. Soon Michael was working with me as an environmental training consultant, and together we were producing exhibits of his work, videotaping, his model folding sequences, and making paper in my garage. Michael made an out-of-the-blue call to Lillian, who invited him to attend a Master Class being given by Akira Yoshizawa in Ossining, New York. (Itis there that we also met Joyce Saler, who shared fascinating conversation with us as we rode back to Massachusetts together. It has been my experience that every Yoshizawa-attended. event generates considerable follow-up discussionwith wonderfully embellished stories, such as his dressing up as Father Christmas in Charlotte, or his chastising a folder for selecting pink foil for his origami ram! The 1992 Convention of the Friends of the Origami Center, held at a New York City public school on the Upper East Side, was actually our first origami convention, One of the more colorful displays at the Convention's exhibition ions of framed area was a set of several va origami butterflies folded by Russell Cashdollar, 1 Smithsonian Museum employee. Seeing these butterflies prompted Michael to recall the ori model he had folded for Alice, and his resulti exploration of his butterfly base system, so we videotaped his methods, to enable him to draw handouts for a few models. In 1994 we set up a two-floor show of his origami masterworks at Lasell College’s Yamawaki Art & Cultural Center in Newton, Massachusetts which included several butterflies folded from his handmade papers. In October, J. C. Nolan diagrammed many of the butterflies, using our videotape, Origami Butterflies @ Moiks which we published and sold direetly. This video not only showed several of his favorite, clever variations that would ¢ npower a beginning folder with a versatile de: toolbox of techniques to recombine for hundreds of butterfly variations, it gave them close-ups of Michael working the details sping, curling, and tweaking the models in a masterful way, Michael became a regular origa at schools, libraries, and quite frequently at the Butterfly Place in Westford, Massacht George ts, run by eslie and his family. His origami butterflies were also featured in retail store window displays, such as a series for Saks Fifth Avenue in New York Hermes, City in 1995, and more recently fo’History In 1996, Michael and I opened the Origamidss Studio, where w made handmade paper much more easily and frequently. We mounted and framed dozens of butterflies suitable for weddings, anniversaries, or birthday celebrations, and the scraps of our special handmade papers became origami butterfly earrings and pins10 %) ISCOVER YOUR OWN DESIGNS THROUGH LAFOSSE'S ORIGAMI BUTTERFLY DESIGN SYSTEM. Michael LaFosse’s origami butterfly system is based on sequentially squashing rectangular proportions, so there are many possible ways to handle the extra paper available when starting from a square, Some can be temporarily stored in the ‘wingtips, then pulled out to form beautiful color- change patterns. Some can be used to produce a segmented abdomen. Some can be rolled beneath the forewings to accentuate the separation of fore and hindwings. The LaFosse Moth begins with a blintz to provide even more extra paper for later use in exotic treatments, There are an unlimited number of choices that can be combined in different ways throughout the process of folding the rest of the model. Have fun by experimenting with the variables of this system and open your mind and hands to the endless possibilities of paper foldingvalley-fold fold and unfold es mountain-fold Noes fold to indicated line magnification of mode! “~Ous turn model over a apply pressure in direction shown: squash fold, inside-reverse fold, etc. @, rotate model AX pull-out paper Diagram Key Ly) introductory folds Refer to page 18 for techniques on how to start your origami butterflies. squash-folding Refer to page 22 to go through the procedure of squash folding that is used in almost all of LaFosse’s butterflies in his system. wing-notch technique Refer to page 27 to perform this technique. & butterfly head style #1 Refer to this technique on page 28, Itis used in most of LaFosse's butterflies. head style #2 This variation is shown on page 29. © abdominal taper Refer to page 30 for details on this folding technique. uMichael G. LaFosse’s Origami Busttorfiy Base I PAPER DIMENSIONS pg.13 IL MARGINS pg.16 12 IIT COLOR CHANGE p9.24 Gennes establish Horizon Line 7O™mButterfily Base pg. 28 9.29 Q-——-- The Butterfly Base This shape will be altered by the decisions described in the pages that follow. ‘Abdominal/Head Delineation Fold 13PAPER DIMENSIONS & INITIAL SET-UP Paper chy + is pethaps the most important decision. Certain butterflies look best when folded from paper in an optimal size window. For paper of a particular thickness, there will be an optimal range of sizes. Different shapes produce wonderful variants and possibilities for additional detail and col hange effects. Although most origami models today begin with a squa on variable rectangle shapes often generated from a squat ichael’s butterfly system is essentially based . Since the first few steps usually generate a non-square rectangle, why not start there? Explore, Use what you have— reycled photo magazines, colorful candy wrappers, even promotional artwork (aka junk mail). Use what you have never tried before. High quali handmade papers will also allow you to turn flaps and pockets inside out without tearing This starting variable will effect the subsequent stages, so have fi and enjoy the serendipity of the outcomes. Below are only a few possibilities of paper dimensions to try. in its endless possibilities, limited only by your mind. [ random rectangles 1¢ intrigue of origami is found square Common office papers, such as 85°x117,A4,A3 size papers et 2x1 , other specifically proportioned rectangles circular, hex, octagonal, or free-form, abstract shapes, etc paper money of any nation 14I: Paper Itis tue that paper makes all the difference. A variation on Michael's ‘Alexander Aztec Swallowtail" (above), the “Lafosse Moth’ (below), and "The Temko" (bottom) are shown here in handmade duo papers. A display rack of hand-made paper at Origamido Studio. 15variable aS UPPER & LOWER MARGINS (FLAPS & CORNERS) fier the preliminary decisions (paper type, size, shape and colo Of variation is derived from just the initial folds. In this butterfly sys made by folding the paper in half,* will become the butterfly’s “waistline” and a portion of the length of the abdomen. Subsequent margins, from fold(s) made parallel, and toward the horizon (whether forward or backward) will be called “introductory flaps”, and provide the palete for diversity Phere are many ways to form margins The edges could meet the horizon, be folded ny fraction, or be placed either on the front or folded to the back. ‘The butterfly folding method is o tucking in all or at least some of the corners. could be either mountain or valley-folds, and there is no reason to limit yourself to 45 less possibilities? Yes, ences! the paper in half Try ie 16TI: Margins These eay steps determine many possible outcomes! Observe the initial set-up decisions (lef), and the resulting bbases (right), for many of Michael LaFosse’s favorite models. 1718 introductory folds |= eee] ‘The first fold will almost always be a “book fold”. Fold the paper in half with the opposite edges touching, just as you would close a book. This aa forms the horizon, or waistline, of the butterfly. (When y explore what happens when you fold the paper not exactly in half.) begin to design your own butterflies, When trying to obtain a fold where you only need a reference point to find the correct measurement, make a “pinch” mark at the edge (or edges), instead of a full crease. Shorter fold-overs often require marking both sides for accurate symmetry,Introductory Folds ‘The Origamido Butterfly (left) starts from a double, 1/4 valley fold (cupboard fold) “The Lilian’ (right) starts from 1/8 and 3/16 valley-folds with beveled edges. For a 3/16 fold, bring the 1/4 and 1/8 pinch marks together and make a crease. This is perhaps the most popular ratio used in Michael's designs, since it results in a pleasing amount of “top paper” for the wings. 19Unless otherwise noted, the corners will be valley-falded to the cre se, creating 45-degree angle bevels (you may wish to experiment with other angles) Mountain-folds are shown with dotted lines: 4 8 vie SAN 1 4 =| | 20Introductory Folds When you experiment with the LaFosse origami butterfly design system, ery some initial folds based on proportions other than one half. 24‘This series of squash folds squash-folding (Michael G. LaFosse’s original 8.5” x 11” origami butterfly design.) is used in a majority of 2 Valley-fold in half Michael LaPosse’s designs within his butterfly system, so take the time to master and memorize this series of folds carefully. 22 ‘once again, then stand this half up, perpendicular tothe table. T vateyssainnat B scussieot wing te edsing ese line (second valley fold) to center the squash. (Note: This second line may not always divide the paper exactly in half Align the lower right corner to the center of the top. Push the mountain fold flat, directly over the crease line made in the second valley fold. 4 Squash the other flap using the same Turnover. Grease to center the resulting triangle, as before.Squash Foldingvariable MASTER THE COLOR CHANGE The LaFosse origami butterflies typically have two layers showing on the wings: “top paper” and “tip paper”. If you choose to fold the paper in half as a valley-fold, the “top paper” will be same color as is on the outside of the folded packet. This system displays duo-paper color contrasts and patterns beautifully, so take charge of what shows, not only on the wings, but on the head and abdomen! This decision allows the flaps to be manipulated for pattern and design (as shown in our next variable, wing deta Below is only one example showing the effects of this single decision. (Remember that your previous choices also affect the outcome. 24II: Color Changevariable of \ @ WONDERFUL WINGS e e Wing patterns and details make the butterfly. You may discover dozens of possibilities as you explore the landscape of a square sheet of paper. Apply your designs to many different types and sizes of papers for an infinite variety of new species. Read about the natural history of butterflies and moths. Look in your own backyard to learn more about these wonderful creatures, their host plants, and the world around them. No doubt your art will be inspired by these personal observations. It is fun to name your new origami butterfly species and invent habitat and locality descriptions for each; this can be educational and a lot of fun, Create beautiful displays of your best designs and share them with your friends. ‘The following examples illustrate a few wing variants using the Origamido Butterfly. Many of Michael's The V'Ann”, can also be found below favorites, such as * CII COI 9 ded?IV: Wing Details wing-notch detail When LaFosse separates the forewings from the hindwings with a crimp, he usually accentuates the separation with an inside reverse-fold. This resulting notch allows additional wing separation and wing detail possibilities using the newly formed layers. Since it is quite small, the wing notch fold is shown up-close in detail.After the notch is made, further possible, as shown to the right and below. Close-up of the finished wing-notch detail on the back (left) and front (righ. This is one possible treatment of this detal, which is found in many of LaFosse's designs. 27butterfly head details I Form body between the ‘two wings, creating a point at the top. Turn over. 3 Press center mountain to squash the head area flat. Two smaller mountain folds result. 2 Nea sightpineh on the underside, bringing mountain-folded edges to the center, just in the head area. Turn over. 4 Fold flattened point to the underside. 28Butterfly Head Details Use the following “Style #2” head when the top of the body does not come to a sharp, single point. I Squash-fold the center mountain fold. ers into the center. 4 Valley fold new flaps below where they will not show. O the siyie#2 head, 29Abdominal Taper abdominal taper Close the wings together and fold the excess bottom corners inside the body. Note in the detail that you ‘must pinch the layers together and fold the corners in. You do not have to open the body paper too much to do this. After the corners have been tucked in, notice that the taper of this fold narrows towards the back end of the butterfly’s body.LaFosse Origami Butterfly Design System re only a few of the possibilities within LaFosse's origami butterfly design system. Some shown here are diagrammed in this book, others are LaF32 JEARN TO FOLD LAFOSSE’S FAVORITE ORIGINAL ORIGAMI BUTTERFLY DESIGNS! Michael LaFosse has been designing origami butterflies and moths for de ides, and has developed more variations than he can count. Before you move on with, your own variations, it may be interesting to fold some of LaFosse’s signature works in order to understand the basics of LaFosse’s origami butterfly design system, Many of the following diagrams appear here for the first time. Some of these models were previously available only on Origamido Studio's Origami Bultrfles and Mots, 2 90-minute instructional video. Other models such as the Mucarri Lana Moth and the Alexander Aztee Swallowtail are recent creations designed especially for this book and were named by Michael after us, the authors of this book. We know you will enjoy them!Diagram Mi neo eee Teed Butterfly & Moth Desi pes ee oa neti) pale iY) Pe cul ke er og een er a Loy a” Murer Cea ee Meret MME CL er cea ted Peers Ree ee34 A Butterfly for Alice Gray (A recollection by Michael LaFosse) “Asa teenager, one of my most frightening experiences y first arranged meeting with Alice Gray. I had been visiting Lillian Oppenheimer at her West 11th Street home, bursting with pride over my new origami model, my Praying Mantis, Lillian insisted that I show it © Alice, an eminent entomologist from the American Museum of Natural History. I had heard her name before (one of the pioneers of igami in the US), but I didn't realize she was also a professional entomologist. Understandably, I was rather nervous about meeting her and showing her my Praying Mantis. “Michael Shall and Daniel Porter were also visiting Lillian that day, and I prepared lunch for us. Afier we ate, Iwas finally able to present my Praying Mantis for Alice’s scrutiny and criticism, Fortunately, Alice liked it. She immediately recognized, and made sure to point out for the benefit of the rest of the party, the small details that I had included in this model: eyes, mouth parts, flexible neck, cirri (posterior “feelers”), and abdominal segments. Alice then informed us that cockroaches and mantids were closely related, and ex- plained their common features. I was intrigued. Alice suggested that Lillian let me spend the rest of the day with her at the American Museum of Natural History, where she could show me some live cockroaches forstudy! OF course there was no argument, so Alice and I promptly left for my visit to the Museum, “It was on this subway ride to the Museum when my butterfly system was born. By sheer coincidence, Michael Shall taught me how to fold Yoshizawa’s butterfly earlier that day. I was so impressed with Yoshizawa’s design. I thought it one of the most. elegant origami creations of all time, so I had butterflies on my mind, but 8 1/2 by 11 inch paper in my hands, Somewhat nervous, I was constantly twisting and folding the paper throughout my conversation with Alice. Before long, a new origami butterfly appeared! I proudly showed it to Alice, and although she said it was very nice, she grumbled dissatisfaction with the fact that it had been folded. from a rectangle, and not from a square. Alice supposed it would not be unreasonable for me to modify it for a square, and urged me to get at it. I would have continued on immediately but we arrived at the Museum. A Butterfly For Alice Gray “Phe rest of that day was remarkable. Alice showed me the contents of her terrariums: millipedes, crickets, spiders, and yes, cockroaches! BIG Madagascar Hissing Cockroaches! Alice took great delight from placing these live insects on me, and. can only imagine the reaction she would receive by people not so enamored with bugs. There l was, learning from the expert, how cockroaches and mantids are related. To this day, whenever I see a o Tam cockroach, I primarily see a mantid i not afraid “As soon as I went home I folded my new basic butterfly design from a square, named it after Alice, and mailed my best example to her with a thank you note for her generous gift of time and inspira- tion. Unknown to me, and not to be revealed until ard Alexander was also living in New York City, working on West 1th Street, and was also amazed by Madagascar about 13 years later, my partner Hissing Cockroaches where he lived across town at Rockefeller University. His fiend and neighbor, Dr. ‘Michael Yamin was performing research on the hes, and the monster bugs intestinal protozoa were supplied to his professor, Dr. William 'Traeger, by none other than... you guessed it, Alice Gray!” Michael G. LaFosse, October 1998Fold body over top wing paper (use the superimposed line as a guide), allowing) the wing paper to come out below. Mountain-fold in half B Fina wing suas. for, ~O™ 2 Vans fos na begin procadura T sorewihaans for squash-folding, beveled introductory fold on both sides. Rotate and turn over the model. 36A Butterfly For Alice Gray 7 reer pge28 tocreate the head using butterfly head fold #1.Use the abdominal taper as shown on page 30. 6 ts winston, srdviching body paper betwen 8 “The Alice Gray” Abutterfly named for Alice Gray. 37The Lillian Michael LaFosse named this butterfly for Lillian Oppenheimer, founder of the Origami Center of America, for doing so much to popularize origami. ‘Michael met with her several times in New York City between 1976 and 1978. He was honored to learn from and spend time with her, a consummate and enthusiastic teacher of origami, Michael says that if he isa good origami teacher, itis a result of Lillian’s example. It is fitting that this origami but- terfly, a beautiful symbol of pollination and sharing, appears here in her memory. Lillian’s dream for people to share friendship through origami has been continued and expanded by the Friends of the Origami Center of America, now known as OrigamiUSA. Her legacy also lives on through many excellent origami teachers that she inspired, and through their students- thousands of folders all over the world.‘The Lillian T serwthaasbeveled introductory fold on the bottom and a 1/8 bevel on the top. Rotate and turn over. uashes. Roll the bottom edge of each hindwing as far as 6. ron a itcan go (while remaining lat tothe bottom corner). ae ioe ouch tector Crimp (mountain and valley-fold at the mid-section of the wings) to flatten paper and form wing separz 39LO on Mountain-fold shown edges inside. 9 Apply abdominal taper. (\ 8 >retvingtoving sneveina ve LY 7 irom Gravina ncn the top wing paper, allowing otherwings oy yy paper to come out from beneath.The Lillian LL “veri A butterfly named for Lillian Oppenheimer. The Lillian Butterfly in various colors and treatments folded from handmade duo papers produced at Origamido Studio, 41Emiko Fritillary Michael named this model for Emiko Kruckner, a student of origami master Akira Yoshizawa while she lived in Japan, and Michael's liaison to this great pioneer of the art. ‘Michael’s clean design for this butterfly honors the rich history and style of early, more traditional Japanese origami, Emiko, our dear friend and excellent folder was sadly taken from us prematurely by illness. Her unique ability to translate “between the lines” as, ‘well as between the languages, generations and ‘cultures was astonishing. We all miss her deeply. 2 radar introductory fold with bevels. Unfold. L ston with a376 introductory ftdon both top and bottom. Unfold. 42Emiko Fritillary 8 soldtne body over top wing paper, allowing other wing to.come out beneath. 7 (Notice the superimposed line from the top ofthe head to the wide corner Cg eee of the hindwing. Use this as a guide to ; properly align the tip of the abdomen. 6 Finsihing squash to form wings. © Procedure for Squash-folding. tabi sop und bosom edges laa dh 90° Result. Rotate. Using the 3/16 creases from step #1 439 Fold wing to wing, sandwiching the body be- tween. Open. Apply head style #1, Round out the outer wings. 12 weenie Fritillary” A fritillary named for Emiko Kruckner.Emiko Fritillary The “Emiko Fiitillary” (pink, duo kami) with LaFosse's origami orchids in handmade papers by Richard Alexander & Michael LaFosse, Origamido Studio,a Swallowtail ‘This is perhaps Michael's most popular origami swallowtail design, and there are numerous variations, Michael named this butterfly for Richard L. Alexander, co-founder of Origamido Studio. He has been working with Michael since 1988, and has been designing commercial art, teaching, editing, videotaping Michael’s creations, photographing, promoting, producing exhibits, and making paper while overseeing the studio’s financial business. Many of his origami designs, such as the Fiesta Box, Anubis, Sting Ray, Kanji the Dog, and numerous dollar bill folds have become favorites of the Origamido Studio's students. Richard persuaded Michael to embrace video instruction for origami students at all levels, not just for beginners, He also pioneered Origami on ‘Demand.com for a la carte video downloads. ‘Michael has developed many swallowtail butter fly designs using the curling technique familiar to people who have folded the traditional irs or lily. Before folding this model, consider your choice ‘of paper. The back side of the paper becomes the abdomen and wing tips.Alexander Swallowtail T stacvitna 3s beveled introductory fold on the bottom and a 1/8 bevel behind the top. Rotate and turn over. 3 The base figure. Roll each top hindwing inner edge ‘over as far as it can go, flat, to each bottom comer. Crimp (mountain and valley-fold at the mid-section of the wings) to flatten the paper and \ form wing separations. FE scot sinasich agi Mountain-fold model in half. Fras body over the top paper of the hindwing , allowing ‘other wing to come Fold wing to wing, sand: wiching the body between. Apply butterfly head fold # out from beneath. 47id 0 Mountain-fold shown edge behind to narrow the point. Pinch and curl outward to make a graceful shape. 9 Form each “swallowtail” by pinching a mountain fold at the bottom corner, following upward to the crease along each inner folded ‘edge. Push inward. 7, depipssmeal gts 8 Open. Mountain-fold shown edges inside.Alexander Swallowtail 120s top edges of forewing tips back, allowing a small triangle of color to show. (This is optional, and you could also try folding the shape in front, hiding the color spot) 13 “Alexander Swallowtail” A butterfly named for Richard Alexander. 49T setetre starevith 3/16 beveled introductory fold on the lower front, and a 1/8 bevel on the back of the top. Make sure the 3/16 bevel is an outer bevel, showing comers on the front. (That is the only difference at the start of this ‘model from the Alexander Swallowtail) Rotate and turn over. Alexander Aztec Swallowtail Michael has developed a variation with a zig-zag pattern reminiscent of Richard Alexander's Fiesta Box, with its “Aztec-like” triangular decorations. Michael is proud that his new model helps to illustrate how the excess paper can be used to full visual advantage, He feels it demonstrates interesting design challenges for students that have completed their first Alexander Swallowtail.Alexander Aztec Swallowtail Valley-fold from the center of the horizon, to the lower comer of the hindwing Fold the new area in half to make the image in step 4. 5 Keep the new comer in place. land the paper flat while you “fan-fold’ back and forth to create the pattern instep 6 intact, Pull the paper folded beneath. This creates excess paper that will not lie lat. 6 ra both hindwings to this stage. a Pull hidden forewing tip paper out as far as pos- sible. Crease to flatten (See step 8). 51LB sousintt tne boy over the hindwing, aligning tip of abdomen to ‘meet the bottom edge of the hindwing. 4 Allow the other wing to come with it. TA cosciner ‘wing over, sandwich= ing body. Open, apply butterfly head fold #1 L2 sesisn ota pope under the wing-netch. Fold model in half. LL sop\ywing noes technique. Repeat with ‘other wing, 10 Valley-fold paper back from where the colors meet. Bring the tiangle-tip back to the 8 cin ot mourain fl onthe rapehe inner edge of the forewing down- ward, creating a valley-fold). This 9 Fold outer-corner over, aligning ‘creates a new comer at top. the edge with mountain crease from the Previous step. 52Alexander Aztec Swallowtail f- ‘5 Apply abdominal taper. 1G sireiog se Mountain-fold behind, I io Inside-reverse. 18 Pinch a mountain-fold, and curl each swallowtail point. 20 -nesander ecSuatowait A variation of a butterfly named for Richard Alexander. 53The Baxter Michael named this model for Jon an enthu an Baxter, astic folder born in New Zealand, For several years he worked tirelessly to put Charlotte, North Carolina, on the origami map with his Southeastern Origami Festivals, We also toured Tokyo with Jonathan, as the guests of Master Akira Yoshizawa for the opening of his one-man, 88" Birthday celebration show at the Matsuya- Ginza Gallery. Jonathan was one of five origami artists that Yoshizawa invited to the opening, each selected to show how the master’s art inspired a new generation of accomplished international origami artists.‘The Baxter 2 cesin squashing Ls i2 376 ineoductory fold on the front top and bottom. Rotate. 3 Result. 4 ‘Open wing and pull out free paper from top area as far as ‘twill go while staying fat. Put the paper back inside the wing. a Fold indicated edge to crease. Fold multilayered shape ‘over, using crease as hinge. Close top layer of wing. Repeat steps 4 & 5 with other wing. 5510 sounsinsaa indicated edges behind. 9 Apply wing-notch technique See diagram #10. 8 en top layer of hindwing upward, stopping at the hind corner. Crimp (mountain and valley-fold at the mid-section of the wings) to flatten, 7 Open top layer of the hindwings and pull out the free paper from inside the bottom area as far as it can {90 while staying fat.The Baxter the top hindwing, allowing other wing to come from beneath, Match corner point of abdomen to crease on hindwing. Fold inter- sects top center of head. LA sists in half, wing to wing. 13 Fold wing towing, sandwiching body between. Open. Apply head style #1. Lb 4 Apply abdominal taper. Open the wings. tL 5 “The Baxter" A butterfly named for Jonathan Baxter. 57The Michael'Shall ‘LaFosse named this butterfly for Michael Shall, an origami enthusiast from New York Gity and found- ing member of the Friends of the Origami Center of ‘America. Michael Shall, Lillian Oppenheimer and Alice Gray transformed Lillian’s New York-based group of folders into a not-for-profit organization to promote the sharing of origami, Michael LaFosse visited Lillian, Michael Shall, and their friends several times in the 1970's (where he developed much of his butterfly system during those visits) but fell out of touch with them for over a decade, When wwe attended their convention in 1992, Michael Shall resumed the same conversation as if no time had passed. Sadly, all three of these great ambassadors of origami, Lillian, Alice, and Michael Shall, have passed on, but their legacy, now called OrigamiUSA, continues their work of promoting the development and sharing of paper folding as a powerful means of creative expression. The beginning folding procedure for the Michael Shall butterfly are the same as for the Baxter, but there are different details.The Michael Shall 2 sesnqeer sition GB go T star sitn 316 introductory fold on the front top and bottom. Rotate. Turn over. Open wing and pull out free paper from top area as far ast will go while staying flat. Repeat on other wing. > Result. 6 Open top paper of the hindwings and pull out free paper from inside the bottom area as far as it can go while staying flat. 39TT soamne body paper over the top ‘wing paper, allowing the wing paperto come out from underneath. Make the comer point of the body touch the crease ‘on the hindwing. The fold made should travel to the top comer of the head paper. 1 2, Fold wing to wing, sandwiching body be- tween, Open. Apply head style #1. LO sous in half, wing-to-wing. D vain solsiné- cated edges behind. 8 Your paper will look like this. ‘ Apply wing-notch technique 7 Roll top paper of the hindwings upward, stop- ping at hind corners. Crimp (mountain and valley-fold at the mid-section of the wings) to flatten. 60‘The Michael Shall from inside the hindwings. taper. Open the wings. 15 Fold comers in to form patterns on each hindwing. Curl the tips of the hindwings (optional). I G-me Michael Shall” Abutterfly named for Michael Shall 6162 The Temko Michael named this buterfly for Florence ‘Temko, an authority on paperfolding and paper arts for decades, and author of dozens of o gami publications from England and America Along with origami pioneers Samuel Randlett, Robert Harbin, Lillian Oppenheimer, and Isao Honda, Florence Temko was one of the most prolific authors of origami books that Michael devoured as a youngster. We had the most delightful afternoon with her a few years ago when she visited Stockbridge, Massachusetts, and she continues to be a good friend, invaluable talent, and wonderful source of inspiration, Michael is honored to follow in her footsteps by carrying on her publishing tradition with his own works designed for young folders.The Temko Hake 3/16 introductory oon 2 rosarn the front bottom, and a 1/8 bevel on the behind the top. Unfold bottom front layer. ee with bevels. Unfold. Re-fold bottom edge using the 3/16 crease from step #1. ssoarcantoi P on inhalf,short edge to short edge. Rotate. 5 Squash. Z7~O™ Turn over. 63The Temko LD ‘ots omesins LE. sorreptaerttoreving downward, matching top corner to and valley-fold at the mid-section of the wings) to flatten. Apply wing-notch technique. fold, wing to wing. I 7 told the body paper over top paper of hindwing, allowing other wing out from beneath. Align abdomen point to crease on hindwing. Fold to the top center of head. db. 18 13 ving tee Apply head style #1. (Say / DD seis svsnatass een Open the wings. 20 ~werente A butterfly named for Florence Temko. 65Origamido6 Butterfly ‘Michael named this butterfly for the Origamida Studio, a special place founded by Richard L. Alexander and Michael G. LaFosse in 1996. In comparison to many of the other models included in these diagrams, the Origamid® Butterfly uses a different aspect of Michael's system. Consider his method for creating the color change and unique head style when designing your own models. ®) I Start with two, 1/4 introductory folds = (cupboard fold). 90 hon, 66 2 Valley-fold short edges together. Rotate so the folded edge is on the bottom.Origamido Butterfly LO \atey:1areving 9 Crimp (mountain-fold along existing papers up, and mountain-old horizon, bring outside ends of the mountain hindwing corners under. fold down). The leading edge of the forewing will change as you do this. Carefully turn hindwing comers inside-out. 8 Open top layers of hind- 7 Keep all ofthe layers wings, squash trapped paper to ye neatly together. Squash. 6 Fold bottom point up along the center gap, making sure to leave a 4 margin at top (not folding TOTES it completely in half), Unfold. 67Valley-fold raw edges of forewing papers to the indicated folded edges. Valley-fold wing separation ‘comers down, Mountain-fold hindwing papers under. LL spy ingoeer technique. Turn over. I ‘3 Valley-fold upper layer papers over leading edge and tuck under triangular layers. 16 Apply head style #2 (since the center does not I 7 The Origamids Butterfly” ‘come toa sharp point) Named for the Origamid3 Studio.Origamido Butterfly Origami:70 Joyce Rockmore Butterfly ‘Michael named this butterfly for Joyce Rockmore, nd (PINE), and TV personality of a cable-access show in Brockton, Massachusetts called Everybody Filds Something. Joyce enjoyed the social aspects of a founder of Paperfolders In New sharing new origami projects with friends, and attended conventions in New York many times. Her motherly personality won over friends instantly, and her generosity with clever folds made her a conduit, an ambassador, and a catalyst for folders and groups in the Boston area. This design produces a shape reminiscent of the Zebra Long- wing, a member of the family of tropical butterflies called Heliconians.‘The Joyce Rockmore TE. sccuns ese piich ans rsa the remainder in 1/2 each time to find the upper one-eighth, then book fold in half 2D Vateysoidiower sor edgeto 1/8 pinch mark nmThe Joyce Rockmore2D reidin batt and go through the squash-folding procedure (a, © L sunita 3/16 introductory fold on the bottom front side, and the top back. Rotate. The Nolan Michael named this butterfly for origami artist and author J.C. Nolan. We met Jay at an origami con- vention in New York City, where he approached Michael about diagramming Michael's designs. Jay ‘was on the cutting edge of using computer graph- ics programs for diagraming, at about the same time awe were developing a series of instructional video- tapes. Jay was also shopping a manuscript, Creating Origami, which we (Alexander Blace & Co., Inc.) published for him in 1995. In this book, Jay told the story of his early origami experiences, the influencial models of his past, and how his interest in designing, origami developed. Jay diagrammed the models that influenced his progression from novice to designer, and wrote about the thought process he went through while creating his own models. Using our videotapes, and Michael's permission, he drew steps for some of ‘Michael's more popular, challenging models for the Origami USA annual collections. "4 B easeresutThe Nolan Open the top paper of each wing and pull out free 5 paper from inside top area as Forewings look like far as it can go, remaining fat. this (wing shown open). Repeat on other wing. ¢ 6 Roll top layer of hindwing Up, stopping at the hindwing commer. Crimp (mountain and valley-fold at the mid-section 8 svounsinit indicated edges behind. FE O retanew corner Drinasiog vmereovertapemerses, _‘ondcated ren fold corner up to area where colors separate. 1578 Mudarri Luna Moth Michael named this butterfly for this book's graphic designer, our friend and co-author, Greg Mudarri Greg Mudarri stumbled upon our series of origami videos at Charrette, an art supply store in the Boston area, in the year 2000. Astounded by the fact that there was an origami master living ten minutes from his house, he ventured into Origamida Studio and began taking lessons from Michael LaFosse. Greg. custom-designed a handmade book about Michael LaFosse’s life story and his origami art for his Final Project in Graphic Design at Boston University. As a regular and enthusiastic participant in paper making workshops, master classes, and social folding parties, Greg also made himself available to run the Studio when we had to be out of town. After graduation, 3reg taught English in Japan for 15 months, then returned to help us design totally new graphic art for our wwworigamiondemand.com web site, some tangible advertising projects, and for our series of instructional origami DVDs, as well as the layout for this book you are holding.A satiis 3/16, beveled introductory fold on the front side (bottom) and a 1/16, beveled flap on the back (top). Rotate and tum over. 4 Crease the new flaps. Mudarri Luna Moth Use squash-folding method. © 3 Crimp to form forewing and hindwing separations. Use the mountain-creases in the center of the wings, roll the paper under, pulling from the bottom wing corners, and flatten. 5 Pre-crease, fold ‘and unfold corner to 6 Push comers. new crease. in (inside-teverse). 7 foldpaperinthe — & pot Paper wing-notch behind. slightly to make a Fold upper-comer colored crescent. behind. Repeat on other side. 7912 Fold other wing down to match points and notches. LT spy ssdominat taper Fold wing down. LO 15; aa ste ‘Squash head area enough to fold tip under to form the head. Fold model in half. VW 9 Mountain-fold model in half, Let wing come out. Bring abdomen point to the bottom of the mountain- folded edge where colors meet. Inside-reverse excess Paper where arrows indicate to collapse the form. 80Mudarri Luna Moth 1 3 Round the body. D4 resscsisesi. Pinch a mountain-crease then curl the swallowtail” 1 S. The*Mudarri Luna Moth" ‘An origami moth named for Greg Mudarri 81T sae oo rasesto fd the con ter, then “blintz” : fold all corners to the center. Turn over. LaFosse’s Moth This moth’s design is quite different from other butterflies in this book, as you can sce from the first step of “blintzing the center). It still obeys his system of fractional folding the corners to set-up, and a sequential scries of squash-folds, 82LaFosse’s Moth ~O™ Use a 3/16 introductory fold on Turn over. the front side bottom and a 1/8 fold on the front top. Rotate. D swearthe doubled packet asifit were a single-layer square. 6 Valley-fold the vertical crease. Valley-fold in half. 7 sain 8 Valley-fold trian- gular flaps down. Repeat steps 7 and 8 on the opposite side.D7 ‘sisen:setorevingsoy pulling out paper flattening again. Fold corner of top layer up. Fold lower abdomen corners over. 1 5 Zig-zag this flap. Fold mountains and valleys back- and- forthforthe abdomen seomenss LE array view Geestep 16) Lift folded edge up and flatten. (Curve this fold to allow it to happen) I 0 Fold bottom corner to the top of the central gap Il Squash wings and unfold. D2 rine paper in the forewings as (Gee step #12). much as possible and crease flat. Squash the hindwings outward. Pull out top layer at abdomen point. 84LaFosse’s Moth a 9 Crimp (roll the paper over starting from the mountain-crease in the center of the wings. It will pull the top comers of the forewings down. Flatten.) (Wing-notch details are optional.) 18 vers Turn over. 20 sersinrat swing abdomen tip to the indicated line, then fold the wings together. taper. Squash the head and fold the end part behind. QB rssosesmoste 85Crimp (rll hindwings 5 ; , The result. Apply wing-notch pacer forgenal: details. Fold abdomen point over to touch mountain. comer up center, but not to the top. Evangeline Fritillary Evangeline (Van) Rossi encouraged Michacl to pursue his artistic interests while he spent time with the Rossi family at their summer camp on Vinton Pond. ‘The beautiful natural surroundings and Van's gardens also inspired her son, Paul, to become a painter. The two painted, drew, folded and critiqued cach other's art for several summers, resulting in dozens Fold pet — - . EZ stss2«s nanan of paintings and several original origami the usual squash for the creations. We cherish Van's memory, and result in Step 2. Michael and I are deeply grateful to the whole Rossi family for providing this magical place in his formative years for his artistic development.Evangeline Fritillary Ls 6 7 Fold the wing-notch Fold the wing together, corners down. Round the sandwiching the body hindwing corners with valley-folds. Drociy ead sete #1. Il Apply Abdominal taper. Open wings. 12 Evangeline Fritillary” An origami fritillary named for Evangeline Rossi. 8788 N LaFosse’s Dollar Bill Butterfly Similar to Evangeline’s Fritillary, this model also comes from a rectangle, however, the dollar bill’s proportions are not quite 2x 1 This folding method allows you to create a 2x 1 rectangle with some interesting details, utilizing aspects of the dollar bill’s printed pattern. Try folding this model starting with different sides of the bill up, resulting in different color / marking arrangements on the wingsLaFosse’s Dollar Butterfly De. 3 Atthe bottom Holding the layers end of the new crease, together, valley-fold make a horizontal accent hl together, crease. Open the bill. I Fold the dollar bill in half, short-edge to short- edge. 4 sins vew ‘mountain creases to the center and crease. 5: The bill is now a 2:1 rectangle. Fold in halt. 6: Fold in half. Squash. Keep the center folds intact throughout the process.13 Fold abdomen point over to align with indicated ‘mountain crease. Il Result. Crimp (roll hindwing paper under the ‘mountain-crease and flatten). along the same crease. D svateyso1a vor tom comer up along Z7O™ the center, mak- ing a crease where 7 wove indicated (at the bills white margin).LaFosse’s Dollar Bill Butterfly corners under the head. 1 4 Fold wings together. comer down. Round hindwings with valleys. Apply abdominal taper. L 7 open vias 18 ar. 00te:3u surety a192 Sh) ISCOVER INSPIRING ART AND BEAUTY IN NATURE. 7 If you are lucky to have a meadow or garden sarby, inspiration is likely right in front of you. Nature is the best artist, and beautiful butterflies and moths can be found almost anywhere. View mas miracles. View them as art! ‘The butterfly has always been a favorite subject, of artists. We have included some photographs of Michael LaFosse’s origami butterflies folded from. our sumptuous, handmade, archival, Origamids Stu io papers, We hope you take inspiration from these photographs (which do not do justice to the actual examples) through Michael’s Field of Discovery. while you embark on your own strollInspiration 93This ever-changing composition of Origami Butterflies adorns a wall in Origami Studio. Velcro (TM) buttons allow new additions when others find homes!Inspiration up mn Wall of Cheer with movable favorites using magnets or Velero(TM), Mix and match LaFosses butterfly designs with your own!Inspiration mposition, entirely of Origami separate squares t ‘Origamid6 ell100 Evangeline Fiitilary (yellow kami paper) LaFosse Dollar-Bill Butterflies “The Diana’, The VAnn' (handmade duo Origamido Studio papers) “The Joyce Rockmore Butterfly” (Skycraft marbled paper) Folded by Michael G. LaFosse.Inspiration Presentation of a finished origami butterfly is important. With the addition of a simple n become an elegant piece of art to display. This example is by Michael LaFosse, folded in special, handmade fuchsia and black duo paper commissioned by Lalique ‘As displayed in the Origamid® Studio gallery 101pAcknowledgments & We would like to thank Michael G, LaFosse for developing and sharing his unique and wonderful origami butterfly design system, the use of his ex- tensive library of teaching handouts and diagrams, and for the use of his exquisite origami models Credit for the obvious influence for the “flowing” diagrams must be given to various Japanese origami publishers, Makoto Yamaguchi, Gallery Origami House and Origami Tanteidan Magazine. Thanks to the Koretskys for this beautiful Kozo plant, and their lifetime of work to document the history and science of fine handmade papers, «and THANK YOU FOR BUYING THIS BOOK! 102The End This book was produced at Origamidd Studio. Haverhill, Massachusetts www.origamido.com (c) 2007 Origamido, Inc. Richard L. Alexan ; President Michael G. LaFosse: Design, folded models and works of art, diagrams, photography, handmade papers Richard L, Alexander: Concept, photography, writing, editing, handmade papers, production Greg Mudarri: Graphic design, illustration, layout, folding, diagrams, writing, photography 103This book contains a detailed description of Michael G. LaFosse’s origami butterfly design system, AND detailed diagrams for fifteen of LaFosse’s favorite butterfly designs! They show the wide variety of origami butterflies and moths that are possible to fold using this versatile system. As you learn these designs and gain a wider understanding of the system’s variables, you will enter his “Field of Discovery”, where you may create your own fanciful origami butterfly and moth “species”. We have included a section of inspirational photos from the Origamido Studio, where we make our origami art from our own handmade papers. These creations have hundreds of ‘uses — earrings and pins, displays, pop-up greeting cards, ornaments, mobiles, package decorations, wedding or party favors ~ the gift possibilities are endless. Get ready to enjoy the world of Michael LaFosse’s origami butterflies and moths! Michael G. we Origami Batteries A Field of Discovery Through a System of Design by Richard L. Alexander & Greg Mudarri, Origamidé Studio