Sheet shape — the series
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The square is a choice
Every packing on this site has been into a square, because origami paper is sold square. Hold the area fixed and vary the shape instead and the efficiency turns out to be spiky rather than smooth — with the same peak value at every proportion that is a ratio of two factors of the flap count, and nowhere else.
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The corner is worth four times the middle
A flap consumes every point of paper within its own length of its tip — but only the paper that is actually there. On an edge of the sheet that is half a disc, and in a corner a quarter, so the same flap costs four different prices depending on where it stands and the boundary is the cheapest paper on the sheet.
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A hole is cheap paper
A flap claims every point of paper within its own length of its tip, but only the paper that is actually there — so an edge is half price and a corner a quarter. A hole in the middle of the sheet is more edge, and holding the area fixed, a square with a hole in it is cheaper paper than a solid square at every flap length measured.
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Spending the cheap paper
A hole makes a sheet cheaper by the square inch, because a flap against its rim claims only half a disc. Whether a design can spend that was left open, because no packing search here could express a region that is not paper. It can now, and the mechanism turns out not to be the discount at all: across a hole, two flaps may overlap, and two tips three fifths of a sheet apart carry flaps of 0.500 rather than 0.300.
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A notch is not a hole
Remove the same rectangle of paper from the middle of a square and from its edge, and the two sheets are not worth the same. The hole is cheaper paper at every flap length measured — 4.71% cheaper than a plain square of equal area against the notch's 2.58% — because what a cut is worth is rim with paper on both sides of it, and a notch spends one of its four sides on an edge the sheet already had.
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The edge is what makes it hard
Grids, crumples, leaves, corrugations and fold-and-cut patterns all give up a consistent lettering at one step per panel with no wrong guess anywhere. The one family that does not is a tessellation clipped to a square, and what separates it from the others is not disorder, not size and not irregularity. It is having a rim.
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The edge was not what made it hard
Five families of pattern searched at one step per panel and a tessellation patch did not, and the property left standing after four alternatives were killed was having a rim. Measured under a fixed letter order the patches cost between a half and two-thirds of a step per panel, at every tiling and every size — below the line rather than above it, and the rim is why.
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A sheet with two edges
Design in this subject starts from a square, and the square's four edges are where every flap ends and every construction begins. A cylinder has two edges instead of four, and what a designer loses turns out to be measurable in the same letters a search counts — and what they gain is that the sheet is what gets manufactured.
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The corner premium, with no corners
A square's corners are its most valuable paper: a flap placed there is claimed by a quarter-disc rather than a whole one, so the corner goes four times as far as the middle. A closed sheet has no corners at all, and the accounting that ranks sheet shapes by their corners has nothing left to rank.