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Origami Polyhedra Design
Origami Polyhedra Design

John Montroll

A K Peters, Ltd.
Natick, Massachusetts
CRC Press
Taylor & Francis Group
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Boca Raton, FL 33487-2742
© 2011 by Taylor & Francis Group, LLC
CRC Press is an imprint of Taylor & Francis Group, an Informa business

No claim to original U.S. Government works

Version Date: 20150225

International Standard Book Number-13: 978-1-4398-7106-5 (eBook - PDF)

This book contains information obtained from authentic and highly regarded sources. Reasonable efforts have been made to publish reliable data and
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To Himanshu
 Contents
Symbols xi
Basic Folds xii
Introduction xiii

Part I: Designing Origami Polyhedra 1

Polyhedra Overview 3
Design Factors and Techniques 7
Math and Design 19
Design Method Examples 39
Polygons 45
Equilateral Triangle ✩ 46
Pentagon ✩ 48
Hexagon ✩ 52
Heptagon ✩ 54
Octagon ✩ 56
Silver Rectangle ✩ 57
Bronze Rectangle ✩ 58
Golden Rectangle ✩ 59

Part II: Platonic and Related Polyhedra 61

Tetrahedron Design 63
Tetrahedron ✩ 65
Duo-Colored Tetrahedron ✩✩ 67
Striped Tetrahedron ✩✩ 69
Tetrahedron of Triangles ✩✩ 72
Stellated Tetrahedron ✩✩ 76
Dimpled Truncated Tetrahedron ✩✩✩ 79
Cube Design 83
Cube ✩✩ 87
Striped Cube ✩✩ 89
Triangles on Cube ✩✩ 92
Cube with Squares ✩✩ 95
Stellated Octahedron ✩✩ 98
Cubehemioctahedron ✩✩✩ 100
Dimpled Rhombicuboctahedron ✩✩✩ 104
Stacked Cubes ✩✩✩✩ 108

Simple ✩
Intermediate ✩✩
Complex ✩✩✩
Very Complex ✩✩✩✩
 Octahedron Design 113
Octahedron ✩✩ 115
Striped Octahedron ✩✩ 118
Duo-Colored Octahedron ✩✩ 121
Stellated Cube ✩✩ 124
Octahemioctahedron ✩✩✩ 127
Dimpled Truncated Octahedron ✩✩✩ 131
More Platonic Solids Design 135
Icosahedron ✩✩✩ 137
Dodecahedron ✩✩✩✩ 140
Sunken Platonic Solids Design 147
Sunken Octahedron ✩✩ 150
Sunken Tetrahedron ✩✩✩ 153
Sunken Cube ✩✩✩ 157
Sunken Dodecahedron ✩✩✩✩ 161
Sunken Icosahedron ✩✩✩✩ 166

Part III: Dipyramids and Dimpled Dipyramids 171

Dipyramid Design 173
Triangular Dipyramid 90° ✩ 178
Triangular Dipyramid ✩✩ 180
Triangular Dipyramid in a Sphere ✩✩ 183
Tall Triangular Dipyramid ✩✩ 186
Tall Square Dipyramid ✩✩ 189
Silver Square Dipyramid ✩✩ 192
Squat Silver Square Diamond ✩✩ 194
Pentagonal Dipyramid ✩✩ 197
Pentagonal Dipyramid 45° ✩✩ 201
Pentagonal Dipyramid in a Sphere ✩✩ 203
Golden Pentagonal Dipyramid ✩✩ 206
Squat Golden Pentagonal Dipyramid ✩✩ 208
Hexagonal Dipyramid ✩✩ 210
Silver Hexagonal Dipyramid ✩✩ 213
Hexagonal Dipyramid 36° ✩✩ 214
Hexagonal Dipyramid in a Sphere ✩✩ 215
Squat Silver Hexagonal Dipyramid ✩✩ 218
Heptagonal Dipyramid ✩✩✩ 219
Heptagonal Dipyramid 30° ✩✩✩ 223
Heptagonal Dipyramid in a Sphere ✩✩✩ 225
Octagonal Dipyramid ✩✩✩ 229
Octagonal Dipyramid 26° ✩✩✩ 232
Octagonal Dipyramid in a Sphere ✩✩✩ 234
Nonagonal Dipyramid ✩✩✩ 237
Decagonal Dipyramid ✩✩✩ 240

viii Contents
Dimpled Dipyramid Design 243
Tall Dimpled Square Dipyramid ✩✩ 247
Dimpled Silver Sqare Dipyramid ✩✩✩ 250
Heptahedron ✩✩✩ 254
Dimpled Squat Square Dipyramid ✩✩✩ 258
Tall Dimpled Hexagonal Dipyramid ✩✩✩✩ 262
Dimpled Silver Hexagonal Dipyramid ✩✩✩✩ 267
Dimpled Hexagonal Dypyramid ✩✩✩✩ 270
Dimpled Hexagonal Dipyramid in a Sphere ✩✩✩✩ 275
Octagonal Flying Saucer ✩✩ 280
Dimpled Octagonal Dipyramid in a Sphere ✩✩✩ 283
Dimpled Octagonal Dipyramid ✩✩✩ 287
Dimpled Silver Octagonal Dipyramid ✩✩✩ 288

Contents ix
 Symbols

Lines

Valley fold, fold in front.

Mountain fold, fold behind.

Crease line.

X-ray or guide line.

Arrows

Fold in this direction.

Fold behind.

Unfold.

Fold and unfold.

Turn over.

Sink or three-dimensional folding.

Place your finger between these layers.

xi
 Basic Folds
Squash Fold
In a squash fold, some paper is opened and then made flat. The shaded arrow shows where to place your
finger.

1 2 3

Squash-fold. A three-dimensional
intermediate step.

Inside Reverse Fold

In an inside reverse fold, some paper is folded between layers. Here are two examples.

1 2
1 2

Reverse-fold. Reverse-fold.

Sink Fold
In a sink fold, some of the paper without edges is folded inside. To do this fold, much of the model must
be unfolded.

1 2

Sink.

xii Basic Folds

 Introduction

P
olyhedra are beautiful shapes that have fascinated people throughout the ages. In ancient
times, they were thought to possess magic powers. The Greeks knew of the five Platonic
solids and associated them with the nature of the universe. Over time, more polyhedra
were discovered, and they became better understood. Physical models of these geometric
shapes have been formed in many media, including wood, metal, and paper. In this
collection, you will learn to make many beautiful polyhedra, each by folding a single square
sheet of paper. Also, you will see how origami skill, mathematics, and polyhedra can be
combined in an elegant way.
I am dedicated to the pursuit of creating each origami model from a single uncut square. I developed
methods for folding animals with that ideal at a time when using multiple sheets and cutting was prevalent.
My techniques, discoveries, and ideals influenced many creators, leading to a more developed art. Now I
wish to do the same with polyhedra.
There has been a movement, over the past 15 years or so, of creating geometric shapes with modular
origami—the use of multiple sheets that are folded into identical units (modules) and then interlocked. For
example, each edge of a polyhedron may be formed by one unit, and several units will interlock to form a
face or vertex. I wanted to explore how these same shapes could be created from a single sheet of paper.
Designing polyhedra from a single uncut square has led me to many new techniques and discoveries in
origami that I wish to share with you.
My models are designed to be folded from standard origami paper (sometimes called kami). This
paper comes in squares, typically 6 to 10 inches wide, that are white on one side and colored on the other.
In the diagrams in this book, the colored side is represented by gray shading. Most of the models end up
with only the colored side showing (and so single-colored paper could be used), but several designs create
color patterns by exposing the white side as well as the colored side. Origami can also be folded from a
variety of other papers, including standard notebook or printer paper, or from even thicker paper, using the
technique of wet-folding.
This may be a good place to point out some folding techniques employed in this collection that
may be less familiar to the casual folder. Most of the instructions begin with sequences of folds that are not
folds in the final model but rather are used to find particular landmarks, such as one seventh of the edge
of the paper or 30° through the center of the paper. Such sequences entail making small creases, such as
folding the paper in half but only creasing on the left edge. In addition, I aimed to keep the faces of the final
model with as few creases as possible, which led to some steps that require creasing only along part of a
fold.
After the crease pattern defining the faces of the polyhedron is formed, the model becomes three-
dimensional, typically at a step to either puff out or push in at some central point on the paper. The folding
generally ends by tucking or locking one or more tabs. Throughout the folding instructions, symmetry plays
a large role, which simplifies the folding.
The models range from simple to very complex, most being intermediate or complex. Still, none
of the models are too difficult, and even the most complex has fewer than 60 steps. The models have been
test-folded by many folders.
In Part I, “Designing Origami Polyhedra,” there are references to several polyhedra whose
directions are not given in this volume. My hope is to write a second volume of origami polyhedra that will
include them.
The illustrations conform to the internationally accepted Randlett-Yoshizawa conventions. (See
“Symbols” (page xi)). Origami paper can be found in many hobby shops or purchased by mail from
OrigamiUSA, 15 West 77th Street, New York, NY 10024-5192.
Many people helped with this project. I thank Brian Webb and John Szinger for their continued
support throughout this project. I thank Daniel Spaulding for his contributions. I thank John Szinger
for folding some of the polyhedra featured on the cover. In particular, I thank my editors, Jan Polish,
Charlotte Henderson, and Ellen Ulyanova. I also thank the many folders who proofread the diagrams.

John Montroll

www.johnmontroll.com

Introduction xiii
 Part
I

Designing Origami
Polyhedra
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