If you are interested in learning more about how I made this pattern, please check the other files attached. The color coding acts like an instruction and tells you whether a line is a mountain fold (blue), a valley fold (red), or represents a line that needs to be cut (green). If you want to get started right away, please check the attached file “SeaUrchinOrigami_SimonSchleicher.” It is a letter sized pdf with the crease pattern for this origami structure. I chose it also because of its pure white color.įor the further processing, I cut it into 11"x11" pieces. Stock and surface-sized it withstands repeated erasing or folding and will not flake. It is 100% alpha-cellulose, containing no wood fiber. In general, the Canson® 1557 is a light grain, acid-free paper suitable for studies, sketches and drawing. A good choice, for example is the Canson® 1557 paper with a weight of 120-160 g/m². The machine shown in the picture is the KNK Zing Orbit 15.įor the material of the origami folding, I recommend a paper or foil that is sturdy enough to withstand a bit of wear and tear. In my case, I used the additional help of a cutting plotter, which allows me to produce origami patterns faster and test designs alternatives based on shorter iteration cycles. If you want to make it fully by hand, you would need a cutting matt, cutter, ruler, pencil, tape, and a glue to secure the folding in the final condition. If you want to see some much better examples of engraving that the KNK machines can do, check out Karisa Doane’s Etsy shop.To produce this intricate origami structure, I recommend the following materials and equipment. Thanks for reading! If you have any comments or questions, I’m happy to answer them to the best of my ability. I first used it when apprenticing in a piano restoration shop and if it’s good enough for a Steinway… I’ll post a follow-up soon so we can see some additional results and hopefully learn a bit more.įor polishing anything, I recommend Flitz. It’s non-toxic, smells good, and can be used on a huge variety of surfaces because it’s non-abrasive, unlike most polishes. Some of the negative effects of cutting too deep may be minimized after polishing and filling the engraved areas with gilder’s paste. 25 could very well be the sweet spot for this material. Given the compromises between detail and readability, I see no reason to go beyond a cutting depth of 30. Just for kicks, I decided to try doing a second pass to increase the final cutting depth to 60. It’s more difficult to see the engraving lines in the final product and while the text may have lost crispness, it is more readable and generally better looking than a single pass at 50 to my eyes at a normal viewing distance.
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