Paper is not ideal
Panels instead of paper
Flat-foldability asks whether a pattern can reach a flat state. Rigid-foldability asks whether it can get there without any face bending on the way. The second is much stronger, and everything that gets manufactured lives inside it.
Rigid foldingThe sheet has a thickness
Every crease pattern describes a surface with no thickness. Everything anybody builds has some, and getting it around a corner is the central problem of turning origami into hardware.
Rigid foldingGetting thickness round a corner
There are half a dozen ways to build a fold in a panel that has depth, and the useful way to arrange them is not by what the cross-section looks like. It is by what each one gives away.
Rigid foldingPaper that folds itself
A self-folding sheet has to supply the fold and then choose what to fold into. The second half is where these things fail, and no amount of torque helps, because the two outcomes are equally downhill.
Rigid foldingFolding that gets built
Solar arrays, airbags, stents and starshades. The requirement is always the same — large in use, small in transit, along a path nobody has to trust to chance — and folding is what answers it.
Curves and materialA crease that curves
Bend a crease and the paper either side is forced into a shape nobody creased. The flat-folding theorems say nothing about it, because they are statements about straight creases meeting at a point.
Curves and materialThe sculptors got there first
Curved-crease folding produced its best objects decades before anybody could compute one. The surfaces were made by hand, the ruling lines that determine them were not calculated until much later, and the mathematics has been catching up ever since.
Curves and materialWhat a flat sheet can become
A sheet that cannot stretch cannot become a sphere. That much belongs to differential geometry; what belongs to folding is the three ways round it — seams, curved creases, and a few percent of stretch — and what each one costs.
Curves and materialFour things that are not true
Zero thickness, no stretch, creases that are lines, and perfect memory. Every theorem on this site rests on all four, every one of them is false, and the interesting engineering is exactly where each fails.
Curves and materialPaper that stretches on purpose
Wet-folding breaks the assumption every theorem of flat folding rests on, deliberately. It does not repeal the geometry — it buys a few percent of strain, and a few percent of strain is worth about twenty degrees of sphere.
Rigid foldingPanels with somewhere to go
Every way of giving a folded panel real thickness costs something. Tachi's offset-panel technique costs the least interesting thing there is — it stops the panels being a surface, and leaves the hinges exactly where the zero-thickness pattern put them.
Curves and materialThe crease has a radius
A fold does not go through a line. It goes round a small arc, and the arc uses more paper than the stack advances by — a fraction of a millimetre per crease, and several millimetres across a grid, which is why an ambitious tessellation comes out short.
Curves and materialOne curve and one number
Folding cannot change how curved a crease is within the surface — that is what an isometry means. Everything a curved fold produces is the curvature it adds out of the surface, and one number controls all of it.
Curves and materialHow many times can it be halved
The folklore says seven, and the folklore is a statement about one sheet of paper. What actually binds is arithmetic: every halving doubles the layers and the paper spent at the closed end grows as the square of the layer count, so the length needed for twelve folds is nearly a kilometre.
Who found it, and whenA record is not a proof
Every other claim here can be re-derived from the figure that makes it, and a wrong one shows. A date cannot: it is checked once, by hand, against a record that is itself a survivor. This field is the one most likely to be wrong and least likely to be caught, and saying so is the only defence it has.
Who found it, and whenThe paper had to arrive first
A model with sixty-four layers at its thickest point, folded in ordinary copier paper, is six and a half millimetres of stack. The layer count a design can reach is fixed by the substrate, not by the folder — so the elaborate tradition is downstream of a manufacturing achievement with its own dates.
Folding nobody designedA sheet that grows cannot lie flat
A leaf does not decide to buckle. Growth changes the distances between a sheet's own material points, a set of distances determines a curvature, and a curvature that is not zero cannot be laid in a plane by anything — whatever the sheet is made of and however slowly it grew.
Folding nobody designedWhich way the disc curves
A growing disc either domes or ruffles, and which one it does is not a matter of how much it grew. It is decided by where the growth was — more at the rim opens the sheet, more at the middle closes it — and one number in one formula takes it through both.
Folding nobody designedThe excess does not choose its waves
A rim that has grown longer than its span has to put the extra length somewhere, and two large waves and eight small ones are the same metric — identical arc length, identical excess. Geometry fixes the family and is completely indifferent about the member.
Folding nobody designedThe bud chooses the pattern
Nothing in the geometry of a corrugation says how many folds it should have. The container does: too few folds is a strip too wide to fit, too many is a stack too thick to fit, and the window that fits at all is narrow and has a best point in the middle of it.
Folding nobody designedNothing in a body folds on a line
A crease in an organism is not a crease. It is a compliant region — a patch of thinner material that bends — and a region has a width. The width consumes surface in exact proportion to the number of folds, which puts a ceiling on how fine a pattern can usefully get.
Folding nobody designedHow much surface fits in a body
An organ whose whole job is to have area — a gut, a gill, a cortex — is solving a packing problem in reverse. Folding buys surface inside a fixed volume, and with a sheet of zero thickness it buys an unlimited amount. With a thickness the curve turns over and then falls to nothing.
Folding nobody designedThe organism is not the model
Every figure in this field draws a fold this repository computed. Not one of them measures a leaf, a wing or a gut. That is the rule the field was built to, and it is worth stating as a table rather than as a preamble — because a field about living things is where a computed geometry is most likely to be read as an observation.
Rigid foldingError is folded too
A folded position is a composition of reflections, and a reflection in a line that is slightly off turns everything beyond it by twice as much. So an error does not stay where it was made — and whether it grows with the crease count or with its square root depends on whether it is the same error every time.
Curves and materialWhere curved creases meet
A curved-crease design looks like a smooth object and its constraints are not smooth. They live at the finitely many points where creases cross, and at each of those the conditions are about the creases' tangent directions — the curvature does not appear in them at all.
Curves and materialWhat one cut buys
A fold moves paper about and cannot change how much of it surrounds a point. A cut can, and that one difference is the whole of what this site's founding rule is worth. Take a wedge out and the sheet closes into a cone; let one in and it has more paper than the plane will accept.
Rigid foldingNowhere to put the error
Paper takes a misplaced crease and spreads it along its whole length as a curvature nobody notices. A panel is flat by definition and cannot, so the error arrives at the hinge — and the room to receive it is a length that has to be drawn, is paid for in fold angle, and has to grow with the crease count.
Axioms and constructionThe rectangle that keeps its shape
Halving a rectangle across its long side turns a proportion of r into one of 2/r, so almost every sheet comes out of the fold a different shape from the one that went in. Exactly one does not, and it is not a shape anybody chose.
Curves and materialThe creases a sheet gives itself
A crease pattern drawn at random satisfies the flat-folding condition at essentially none of its vertices. A sheet crumpled at random satisfies it at every single one, on every seed, at every size — and the reason is a tautology that is very easy to miss.
Curves and materialEvery facet is a layer
Fold a sheet at random as many times as patience allows, then count three things: the creases it carries, the facets they cut it into, and the layers in the stack. The last two are the same number, always, and it is one more than the first — so how deep a crumpled sheet folds can be read off the flattened pattern without folding anything.
Curves and materialOne cut short of falling apart
Everything a cut sheet can do is bought out of the material between the end of one cut and the start of the next. That material shrinks to nothing in a straight line as the cuts grow, and the sheet stays in one piece the whole way down — until the instant it does not, and then it is in six.
Flat-foldingA near miss is nearly as rare
Flat-foldability is a coincidence of measure zero, which is usually where the argument stops. Measure how far a random vertex is from folding rather than whether it does, and the answer is thirty-one degrees a sector — so the tolerance real paper has does not buy back anything at all, and a pattern that nearly folds had to start near one that did.
Curves and materialThe crease that stops in the middle
A sheet folded flat at random writes a crease pattern that satisfies every condition in the subject, everywhere. Leave one layer behind on each fold — one layer out of a dozen — and it stops writing crease patterns at all: the creases stop in the middle of the paper, and a crease with a loose end is a thing no flat folded sheet can have.
Rigid foldingThickness has a sign
Swap every mountain for a valley and back again. Kawasaki does not notice, Maekawa gets the same condition the other way round, the lemma still asks the two creases to differ, and the layers come out mirrored. Every theorem on this site is blind to which side of the paper it is looking at — and a hinge in a panel with depth is not. The fold closes one way and jams at nothing at all the other.
Curves and materialWhere the rulings run out
A curved fold's surface is made of straight lines leaving the crease, and the lines are not parallel, so they cross. Past the first crossing there is no surface: two points of the paper have been sent to one point of space. The boundary is a curve nobody drew, no crease pattern shows it, and it sits at the sine of the ruling angle times the crease's own tightest radius — on every curve tried.
Curves and materialThe sheet remembers
Perfect memory is the fourth idealisation, and the least examined of the four. It is usually read as a complaint that paper will not lie flat again; the large half is the opposite. A sheet folded once is no longer blank, so folding a second model into it is folding the union of two patterns — and a union folds flat only where every new crease meets every old one at a right angle.
Axioms and constructionCloser than a crease is wide
One fold from a bare square leaves nine marks, seventy-five millimetres apart. Two folds leave five hundred and sixty-five, the closest pair half a millimetre apart. Three folds — using one axiom of the seven — leave half a million, and ninety-four per cent of them have another mark within a fifth of a millimetre. What bounds a folder is not what the axioms reach; it is what the paper can tell apart.
Rigid foldingSolved is not built
A mesh that folds because an equation holds and a mesh that folds because one crease family runs straight through every vertex are not two examples of the same thing. Cut a Miura's every dimension five per cent wrong and it still folds exactly. Cut a solved general mesh a fifth of a millimetre wrong on a 150 mm sheet and the closure is gone.
Curves and materialThe fifth thing that is not true
Four idealisations underlie every theorem here and each has had an essay. There is a fifth and it has never been named, because it is invisible in exactly the way the others are not: paper has a grain, no theorem in the subject mentions a direction, and so nothing in the whole apparatus can tell a folder which way up to lay the pattern down.
Curves and materialThe gap between two curves
The rulings leaving a curved crease are not parallel, so they cross, and the surface exists only as far as the first crossing. That bound is usually read as a limit on how far a design extends outward. It is not: the paper between two curved creases has to be reachable from both, so the bound bites hardest where the circles are smallest, and a concentric pleat has a hole in the middle that no sheet size removes.
Rigid foldingA tolerance is a direction
Cut a solved mesh a fifth of a millimetre wrong and its closure is gone. That is true of the errors it was tried with and false of errors in general: the solutions form a surface sixteen directions wide, an error along it costs five thousand times less than the same error across it, and the fifth of a millimetre is the allowance in one direction out of twenty.
Rigid foldingThe pile, not the panel
Every technique for building a fold out of panels with depth is drawn, described and priced at one crease between two panels. A folded model has two layers nowhere except at its last fold: the printed patterns here reach eight, sixteen, thirty-two and sixty, and the length a thick panel has to find at those creases is not the published allowance but fifty-nine times it.
Rigid foldingThe allowance is spent at the end
A tolerance on a solved mesh was priced at one fold angle, because that is where a tolerance is priced. The surface of solutions turns out not to move as the sheet folds — the free directions at a third of a radian are the free directions at two and a half, to twelve figures — and the price of leaving it rises by a factor of thirteen along the way.
Curves and materialThe decision a crumple has taken
A sheet crumpled at random satisfies every condition in the subject, because it just folded. It also wrote itself a lettering — one of very many the pattern admits — and it is now in a piece of that space it cannot leave: at six folds a crumpled sheet carries thirty-nine buried creases, which is half a million million million pieces, and every change it admits stays inside one of them.
Who found it, and whenTwo kinds of claim
This site has published a median overrun of two centuries and a mean of twenty-two years in the opposite direction, and both are right. Split the record by what each claim is about and the reason appears: every claim about a practice is dated earlier than its evidence, most claims about a result are dated later, and the two scatter by 979 years and 131.
Curves and materialThe crumple keeps its options
Every crease pattern this site prints has exactly one folded state and not one of its thirty-nine available rearrangements is legal. A sheet creased by folding it at random four times has an average of 2.16 folded states, one of them has nine, and six of three hundred and thirty-five rearrangements are legal. The sheet nobody designed is the one with room left in it.
Folding nobody designedTwice as thick where it is thickest
A folded leaf's thickness is quoted as an area calculation: so much lamina, so much footprint, so many layers on average. The average is not what has to fit in the bud. Sampling the folded state of corrugated leaf patterns of two to five rows gives a deepest point of eight, twelve, sixteen and twenty layers against averages of 4.15, 6.23, 8.31 and 10.39 — a ratio of 1.926 that does not move at all.
Curves and materialHow much line is on the paper
A crease pattern is described by its creases: how many, at what angles, in what arrangement. What a folder spends is length. The Yoshimura this site prints has eighty-six creases and 2,380 millimetres of folding on a sheet seventeen centimetres across; the Miura has thirty-eight creases and 1,049, and the fold-and-cut triangle has six and 258 — and the two counts do not rank the eight printed patterns the same way.
Rigid foldingTwo mechanisms at one point
Two creases drawn across each other cannot fold flat — Maekawa's count refuses them at every angle. They move perfectly well as rigid panels, and they move in two ways: bend along one line while the other stays flat, or the reverse. Every other developable vertex of degree four has two ways too, and in both of them all four creases move together at a fixed ratio. The crossing is the case where the two motions have nothing to do with each other.
Rigid foldingHow deep is a crossing
A crossing is a verdict with no middle: two creases either pass through one another or they do not, and the first makes a pattern unfoldable while the second leaves it untouched. Measured on the patches where they occur, the shallowest crossing runs 0.16 mm past the end of the crease it meets, on a sheet 150 mm across. Five of the forty-seven are under half a millimetre, which is thinner than the line a pencil draws.
Curves and materialWhere the length sits
A pattern's folding length is a total, and a total says nothing about where the work is. Divide each printed sheet into bands by distance from its own edge and the answer separates the patterns by kind: a traditional base carries five times its share of folding in the middle 4% of the paper, a tessellation carries between 0.9 and 1.4 everywhere, and a twist unit carries none at all at its centre. On all eight, the outermost band carries less than its share.
Curves and materialThe letters a crumple was given
A sheet creased by folding it and folding it again arrives with a mountain-valley labelling that cannot be wrong, because a folding produced it. Nothing about the pattern protects it: reletter the same creases and the share of labellings whose letters agree falls from every one of forty at eight panels to eleven of forty at forty-one. The foldability of a crumple is a fact about its history, not about its drawing.
Folding nobody designedThe taper decides nothing
A leaf's corrugation narrows toward its margin, and the taper is what the pattern is for. It has no effect whatever on how often the pattern's letters agree with themselves: four width profiles from perfectly even to strongly tapered give a hundred and seventy-four consistent letterings of two hundred, identically. What moves the number is the count of rows, and on that measure a leaf tracks a Miura rather than the corrugation it most resembles.
Flat-foldingTwelve creases a micrometre long
A patch this collection has drawn for a long time carries a hundred and forty-two creases and a hundred and thirty arcs, and nobody had asked what the other twelve were. They are fragments left where the clip caught a pleat almost exactly at a corner — between one and nine micrometres long on a printed sheet, at one turn angle out of four, and it is the turn the collection prints.
Curves and materialRare is not hard
Crumple a sheet deeper and the share of its labellings that agree with themselves falls from thirty-four in forty to eleven. The number of steps a search needs to find one of them does not move at all: it stays at about one per panel, with no backtracking, the whole way down. How often an answer turns up at random and how much work it takes to find one are different quantities, and a crumpled sheet is where they come apart.
Flat-foldingThe crease the drawing cannot show
Twelve creases on a printed crease pattern are eight millionths of a sheet long. They are in every count the collection takes of that patch, they pass every theorem, and no printer resolves them and no hand folds them. They are also the only thing holding the folded sheet together.
Flat-foldingA patch on a knife edge
The tessellation patch this collection prints has twelve creases nobody can see. Move the pitch of its tiling by five thousandths and they are gone — and so is a whole ring of twists. The patch sits exactly on the moment a ring of the pattern passes through the edge of the sheet, and the blemish is what that moment looks like.
Curves and materialThe shortest crease is not a crease
A crease pattern's density is usually quoted as total crease length over sheet area, which treats a metre of folding as a metre whether it arrives as one long line or ten thousand short ones. Reading the lengths individually instead finds twelve creases on a printed patch that are shorter than a wavelength of light.
Curves and materialA crumple has no tail
The least structured crease pattern this collection can produce is a sheet folded at random and flattened. Its consistent letterings get rarer as it deepens — thirty-four of forty down to eleven — and finding one costs one step per panel from beginning to end, with no wrong guess anywhere. Disorder and difficulty turn out to be unrelated quantities.
Curves and materialA count is not a length
Cut a rectangle out of a tessellation and it reports fifty per cent more creases than the pattern has, then twenty-five, then seventeen — converging on the truth from above and never reaching it. The crease length per unit area it reports is exact at every size, because the two halves of a divided crease add back up. One measurement survives the cut and the other does not.
Curves and materialA crease with no vertex to belong to
Crease density is measured as length of line per area of paper, and everything else about a crease is measured at the vertex it runs into. A band of paper has creases that run from one edge to the other and meet nothing, so it has density and no vertices at all — and it still refuses to fold.
Curves and materialThe sixth thing that is not true
Five idealisations underlie every theorem here and each has had an essay: no thickness, no stretch, creases that are lines, perfect memory, no grain. There is a sixth, it is more basic than any of them, and it is the one nobody has ever thought to name — the paper is a disc.
Rigid foldingTwo panels that are one panel
Paper cannot pass through paper, and every test for it compares pairs of panels. On a glued sheet two pieces of the drawing can be the same piece of paper — so a test that does not know the identification either reports a collision between a panel and itself, or misses one where the sheet meets itself round the loop.
Rigid foldingThickness round a closed loop
Real panels have thickness, and every technique for accommodating it works by shifting a hinge off the ideal crease by a small amount. On a flat sheet the shifts accumulate outward and end at the edge. On a closed sheet they accumulate round a loop and have to come back to where they started, which is a condition none of the techniques was designed to satisfy.
Folding nobody designedFour materials, four optima
The convergence argument gets its pattern and stops there. A hinge has a radius, the radius takes a fixed length of surface out of every fold, and the fold count that gets the most packing out of a sheet is inversely proportional to it — so a leaf, a wing, a gut lining and a metal array agreeing on a corrugation still disagree by an order of magnitude about how many creases to put in one.
Folding nobody designedThe number is the angle
Every packing ratio worked out so far is computed at a fold closed all the way, and a folded wing is not closed all the way. At zero thickness the ratio runs away as the fold shuts, so the size of a quoted number says how far the fold got and not what the pattern is — and the pattern contributes only an exponent, which makes the same quoted ratio mean two quite different angles depending on which geometry produced it.
Folding nobody designedThe surface has to be supplied
The curve that turns over does so because the sheet's own thickness fills the box it is folding into. A surface in a body has to be reached as well as fitted, and the channel that reaches it takes depth out of the same box on exactly the same terms — so the best fold count and the surface it delivers both fall by the ratio of the sheet's thickness to the sheet and its supply together.
Folding nobody designedTwo surfaces in one box
A body folds several surfaces into one volume and each of them does a different job. Dividing the depth between them looks like a fair split costing nothing overall, and it is not: the area a single surface can reach goes as the square of the depth it has, so m surfaces sharing a depth reach a total of exactly one m-th of what one of them would have reached alone.
Folding nobody designedThe test measures the rim
Flattening the specimen is the right test and the measurement anybody actually makes on a flattened specimen is a boundary one — how far the margin overruns its chord. Total curvature is a boundary quantity too: it equals minus two pi R times the growth profile's slope at the rim, and nothing else about the interior survives into it. So a sheet can be curved everywhere and integrate to nothing, and the test reports it flat.
Axioms and constructionWhat buys the reach costs the accuracy
A reference is a crossing of two creases, and a crossing transmits a folding error multiplied by one over the sine of the angle the creases make. Measured across the whole closure on a square, the four linear axioms never produce a crossing shallower than thirty-seven degrees — and the conic axiom, the one that sends a point onto a line and reaches the heptagon, produces crossings under seven.
Who found it, and whenA sheet has a size as well
The layer count a design reaches is fixed by how thin the paper is. What size the finished thing comes out at is fixed by how large the sheet is, through a factor the pattern decides: the folded footprint times the mean layer count is the area of the paper, so the linear shrink is the square root of the layer count and a sixty-four-layer model finished at a hand's width wants more than a metre of sheet.
Who found it, and whenWhich ceiling is binding
Two constraints hold a design's layer count down and both are ceilings on the same number. The stack gets better as the paper thins; the grid gets better as the sheet grows, because piling layers needs divisions and a division cannot be finer than a folder can place it. They cross at a sheet size that rises as the paper thins — so on the papers a classical folder had, the substrate really is the limit, and only at tissue weights does the hand take over.
Who found it, and whenHow many wedges the paper allows
A k-pointed folk star is folded into 2k equal wedges and cut once, so the scissors go through 2k thicknesses of the sheet. The geometry is indifferent to k and the paper is not: at a stack a pair of scissors will shear cleanly in one pass, ordinary copier paper takes a three-pointed star and nothing more, and the five-pointed one everybody knows needs washi or thinner.
Folding nobody designedA nest pays four a level
A corrugation folded inside the panels of another looks like the arrangement that multiplies surface rather than dividing it. It multiplies the factors and divides the depths, and the depths cancel: a packed level can hold at most its depth over four times what it folds, the thing it folds is as thick as the depth the level below was given, and so a nest of L levels reaches at most the box over 4ᴸ sheet thicknesses. One level with the whole box beats any nest of two by exactly four.
Folding nobody designedThe fold count sets the spring
A corrugation sweeps the same span at every fold count, and the count decides only how much room the zigzag needs while it does it — which was counted as a gain with nothing pushing back. Something does push back. Every hinge is a spring, a finer corrugation has proportionally more of them, and the force to hold a given span rises exactly as the clearance falls: the product of the two is the same number whatever the count, and at each material's own best count the spring goes as one over the square of the hinge radius.
Folding nobody designedThree marks see nothing
The measurement a rim cannot make is an interior one, and the obvious interior measurement — two marks a known distance apart, measured again after growth — cannot detect curvature at all, because a uniformly enlarged sheet changes that distance and stays flat. Three marks cannot either: any three distances obeying the triangle inequality are the sides of a flat triangle. Four marks give six distances, and six distances are not free on a flat sheet. The growth profile a rim measurement reads as flat misses by three and a half per cent with four marks at the rim.
Folding nobody designedA cut reads a slope
A rim measurement returns one number for a whole grown disc, and a family of growth patterns share it. Cut the disc in a circle and the piece inside has a rim of its own, and its reading is minus two pi r times the slope of the log of the growth at the cut — so a cut reads a slope, a set of cuts reads the slope at each radius, and the slopes add up to the growth profile itself. The one thing no cut can recover is how much the whole sheet was enlarged, which is the one kind of growth that curves nothing.
Curves and materialA tuck keeps what a gore cuts
A flat disc gathered into a spherical cap has more circumference than the cap, and a gore removes the excess while wet-folding stretches it away. A tuck folds it under, which keeps the sheet whole and turns the excess into thickness. At the rim of a gathered cap the paper is α ⁄ sin α sheets thick on average — π⁄2 for a hemisphere — and a simple tuck is three, so single tucks reach a cap of 130.6° before they run into one another. And because a sphere's circles fall short of a plane's as the cube of the radius, a tuck that follows the sphere widens as the cube too: its edges are curves.
Curves and materialA straight tuck is a cone point
A tuck with straight edges hides length in proportion to how far past its start it has gone, which is a cone's law and not a sphere's. Started at the centre, straight tucks make a cone. Started at several radii, they hide length in a broken line that follows a sphere's cubic, and the worst shortfall falls as the square of the number of starting radii: 36.9 per cent of the rim's hiding from one start, 12.3 from two, 3.3 from four, 0.8 from eight. Every start is three creases at a point, which is a vertex that cannot fold flat — and it is exactly where the gathered sheet's curvature goes.
Rigid foldingThree kinds of pile
A thick-panel technique is priced at the deepest pile a pattern has, and the depth of that pile says nothing about where it is. Mapped over the folded footprint, the printed patterns fall into three kinds. On a uniform pile the deepest count is the whole footprint — sixty layers everywhere on the Yoshimura. On an island it is a patch and the rest is shallow. On a graded pile it is a sliver — under one per cent of the tapered corrugation — while nearly nine tenths is at least half as deep, and the Miura, the pattern that gets built, is graded.
Rigid foldingA panel is not the unit of depth
A thick-panel design gives each panel a thickness, an offset or a taper, so a graded pile could be met panel by panel only if every panel's folded image lay over one depth. On the Miura none does. Every one of its twenty-four panels lies over three or four of the four depths its pile takes, and on the tapered corrugation every panel lies over all four. The uniform piles are the opposite — every panel of the Yoshimura, the waterbomb and the preliminary base lies over exactly one depth — which is why panel-by-panel techniques look adequate on the patterns they are drawn for. On the Miura the steps between depths cross the middle of panels, and they run parallel to the panels' own sides.
Curves and materialCrowd the tucks toward the rim
Straight tucks started at several radii follow a sphere's hidden length in a broken line, and evenly spaced starts leave a worst shortfall that falls as the square of their number. Evenly spaced is not the best spacing. A sphere's hiding bends hardest near the rim, so the best starts crowd outward — on a hemisphere, four of them at 0.36, 0.60 and 0.80 of the radius — and leave 38 per cent less error than four evenly spaced. As the count grows the saving closes on 42 per cent, a limit set by the square root of how the sphere's hiding bends; on a shallow dish it approaches five ninths. To follow a hemisphere within one per cent takes six rings of tucks instead of eight, and within a tenth of a per cent eighteen instead of twenty-four.
Folding nobody designedHow far open is a question about the grip
A corrugation of hinges that rest flat is loaded when it is shut, so it opens by itself and the force in the held-state calculation is a restraint rather than a drive. Followed from shut to flat that restraint only ever falls, and by exactly π over two — so every partly open state a structure can occupy is squeezed into a band a third wide, and a grip that weakens by a third leaves the sheet nine tenths open.
Folding nobody designedSprings that disagree do not offer a choice
A corrugation of hinges that remember different angles was expected to have more than one position in which nothing pushes. It has exactly one, at the stiffness-weighted mean of what they remember, because a sum of parabolas in one variable is a parabola. The second resting place comes from somewhere else entirely — the mirror pattern — and the flat sheet is the barrier between them, which is also why a creased sheet cannot be pulled flat at all.
Curves and materialCrowding outward costs almost nothing
Placing the tuck starts for equal error crowds them toward the rim, where the gathered paper is already at its thickest, and the obvious worry is that the accuracy is bought with depth. Measured, it is not: on a hemisphere the crowded placement's deepest start sits in 3.37 sheets against the even placement's 3.32, because a start is three sheets of its own and the gathering beneath it is only one and a half.
Curves and materialThree answers, one count
Seams, curved creases and a few per cent of stretch are the three ways round the sphere, and a tuck is a fourth. All four dispose of one quantity — the excess circumference a flat disc has over the sphere's circle — and all four dispose of it by dividing the circle. So the number of divisions needed is the same whichever answer is chosen: nineteen for a hemisphere in a material that gives two per cent, eight at five, four at ten. What differs is what a division costs, and one of the four runs out.
Curves and materialWhere a ring of divisions belongs
A pattern that divides the circle everywhere as finely as its rim requires is over-divided for most of its radius, because the excess grows from nothing. Putting a ring of new divisions in wherever the residual would otherwise pass what the material takes gives seven rings on a hemisphere at five per cent of stretch, at 0.35, 0.50, 0.62, 0.72, 0.81, 0.90 and 0.98 of the way out — and the first of those sits where a completely different criterion put its first tuck start.
Rigid foldingWhat a second deployment costs
Every folded structure this field builds deploys once. The reason is a power law: a hinge asked to survive more cycles cannot be as sharp, a blunter hinge takes more surface out of the sheet, and the fold count that packs best falls as the cycle count to a fatigue exponent. A structure required to work a thousand times packs thirty times worse than one required to work once, and the exponent decides how fast rather than whether.
Axioms and constructionThe axiom that reaches furthest wastes most
The field of origami numbers is defined on an unbounded plane and a folder has a square. Counted axiom set by axiom set on the same sheet, the share of crossings that land off the paper rises with every axiom added: nothing at all from the first two, fifty-seven per cent from the four linear ones at a single round, and seventy-six per cent from the conic axiom at a single round — more, in one round, than the linear four lose in two. The instrument that reaches furthest into the field delivers the smallest share of what it specifies.
Designing a baseThe width is charged in grid
A grafted strip may be any width at all and the bill in paper is exactly width times length, with no second term — which is what the first of these essays established, and is a statement about area. The grid is a different property of the same pattern and it is not conserved: a strip whose width is not a whole number of spacings puts every vertex past the cut onto a finer grid, and a width four per cent away from a spacing divides the grid by twenty-five where a width half a spacing away divides it by two. A width nearly right costs far more than one plainly wrong.
Who found it, and whenA sheet is as large as two arms
A model's finished size is its sheet divided by the square root of its layer count, so a sixty-four-layer model at a hand's width wants more than a metre of paper. A hand-made sheet is formed on a mould somebody lifts out of a vat and shakes, and what that bounds is an area rather than a thickness: over the whole plausible range of mould weights and what arms can do repeatedly, the largest square sheet runs from about half a metre to about two. The demand and the bound are the same sizes, which is the one thing about them nobody has to know the constants to see.
Who found it, and whenThe paper that will not hold a crease
Every constraint these essays have found improves as the paper gets thinner: the stack, the size, the layer count. A crease does not. A crease is a plastic hinge in the fibres at the fold, and a sheet one fibre thick has nothing through its thickness to hinge — so there is a floor under the thickness that no manufacturing skill moves, because the fibre diameter is a constant of the plant. The papers a tradition folds sit between one and a half fibres and four, and the two below that in this collection's own shelf are tissues, which are backed with foil before anybody creases them.
Who found it, and whenEighty layers and the sheet decides the rest
Five of these essays each bound one thing and none of them bounds a design. Put together they close. The crease floor fixes the thinnest usable paper at about a fibre and a half; that paper's stack runs out at eighty layers; the largest sheet two arms can make falls away as the square of the finished size. The region under both is every model anybody can fold, and it has a ceiling at eighty layers and a corner at about a hand's width — above which the paper is no longer the limit and the vat is.
Curves and materialA length needs a scale
These essays measure crease length, and a crease length is a length in the pattern's own coordinates. Six of the eight printed patterns are built on a unit square, so their coordinates are sheet widths and the distinction never arises. Two are not — a Miura laid out as six cells of unit width spans 6.37 — and on those two the shelf multiplied by the printed size without dividing by the width. The Miura's folding length was reported as 6,679 millimetres and is 1,049, and the same pattern's printable sheet has carried the right number all along.
Curves and materialThe density a paper allows
Every density these essays measure is a quotient a pattern hands over, and nothing has asked what the paper's own answer is. It has one: a crease occupies a band a few thicknesses across, so two creases closer than that are not two creases, and a sheet of a given thickness carries a largest density. Copier paper allows 1,667 metres of crease a square metre and the densest pattern on the printed shelf asks for 89 — a factor of nineteen below the worst paper's ceiling. The material is not what limits a crease pattern's density at any fineness anybody folds.
Curves and materialA paper limits spacing, not density
The density ceiling put a sheet's limit at parallel creases a crease-width apart, 1⁄w of crease a square metre, and claimed no arrangement carries more. Crossing families do: they meet at vertices, which is shared ground, and never come closer than w anywhere else. Measured over every pair of creases that do not share a vertex, density times closest spacing settles at about 1.9 for both the Miura and the waterbomb, so each can be folded nearly twice as fine as the density bound said — 262 cells a side on copier paper for the Miura rather than 139, and 141 for the waterbomb rather than 74.
Curves and materialA vertex creases the paper twice
Two creases that meet share ground near the point, and their bands overlap out along each of them to w⁄sin θ for a sector angle θ below a right angle. Add the overlap at both ends of a crease, and a crease no longer than that is overlap from end to end — a crease only in the drawing. That third bound binds before the spacing does: the finest Miura on copier paper is 135 cells a side by its vertices against 262 by its spacing, and the finest waterbomb 82 against 141. Both land within a tenth of the density bound, which had the wrong argument and nearly the right number.
Folding nobody designedHolding a fold moves the force
A creased hinge held at an angle slowly comes to remember that angle, so a leaf or a wing packed in a bud for a season is gradually holding itself and the bud has less to do. The force is not used up in the process. The torque the container must supply falls as e^(−T⁄τ), the torque later needed to open the structure rises by exactly the same amount, and the two sum to the same total at every moment of the holding. Held for three relaxation times, a corrugation creased to 0.8 radians and packed to 2.4 needs 4 per cent of the total from its container and 96 per cent from whatever opens it — and the barrier to its mirror image has grown more than eightfold. A packing that lasts buys independence from its container with a harder unfolding.
TessellationsThe direction that gets longer
A shrink factor below one is a direction in which the folded sheet is bigger than the flat one, and the leaf corrugation has one. The cause is not the taper and not the angle: a corrugation's folded extent across its own creases is a constant of the cell, the same number at two rows and at ten, so the cross factor is the sheet's height divided by a fixed length — a straight line through the origin that crosses one at a definite row count.
Curves and materialOnly one side can run out
A curved fold has two surfaces and every reach ever computed here has been one of them. The closed form's denominator is the crease's curvature plus the rate the ruling angle turns at, and crossing to the other surface negates both — so at any point of any crease at most one of the two surfaces can have its rulings converge. A crease that never changes the way it bends therefore has a surface with no such boundary at all, anywhere along it.
Rigid foldingA stub is never alone
A crossing is a crease running past another and it has a depth. A stub is a crease that simply stops, and it has one too — how far from the rim it stopped, which is also how much shorter than a crease it is. Measured across a hundred and twenty drawings: sixty-six stubs, from 0.27 mm to 35 mm at printed size, every one of them paired with another at exactly the same distance, and not one on a drawing that did not already have a crossing.
Curves and materialAn angle that turns faster than the crease
Which of a curved fold's two surfaces runs out is decided by a sum of two rates — how fast the crease bends and how fast the ruling angle turns — and every measurement so far has set the second to zero. Let it turn and it carries the sign on its own: past a rate of exactly one, a crease of unchanging curvature bounds both of its surfaces, which no constant angle on that crease can do. Below that rate the turning costs reach without changing anything else.
Rigid foldingTwo faults, not four
A drawing departs from its crease list in four named ways — a crossing, a stub, a junction and a fragment — and a checker tests for all four. Counted side by side on two hundred and forty drawings, two of the tests find nothing the others do not. No crease anywhere ends on another crease: every junction the reading finds is a crease meeting the rim, which is where creases are meant to end. Every stub is on a drawing that already has a crossing. What is left is two independent faults, and the clipped construction, which makes no crossings, still makes the second — creases a thousandth of a millimetre long, in pairs.
Who found it, and whenThe deepest point pays for the paper
A folded design uses its sheet according to its mean layer count and its paper according to its deepest point, and the ratio of the two is a property of the crease pattern. Measured on every printed pattern it runs from exactly one to nearly six — and it does not split tessellations from bases, as expected. It splits patterns whose every panel lies over every point from patterns that keep a footprint with structure in it. The ratio moves the corner of the substrate map by its square root, so the fold-and-cut triangle can reach the paper's eighty layers at 326 millimetres where the preliminary base must stop at 134.