![]() I had to watch a few Youtube videos to get a feel for the proprietary software and how to properly load the mat into the Cameo.Īfter some initial frustration and trial and error, I was able to run some jobs and found that even on the lowest setting blade, i.e. The Cameo comes with a manual on features the machine and software has but no tutorial on how to actually run a job beyond just “load and run”. If it didn’t work out, I could cut some vinyl and make some t-shirts (what most people use the Cameo for) or just sell the machine. At \$250, I felt comfortable buying and trying the Cameo. It seems to be the most popular choice among folders and Jun Mitani recommends the Cameo in his book 3D Origami Art. There aren’t that many choices for consumer-level cutting plotters and I quickly settled on the Silhouette Cameo. Given the high cost and availability constraints of using a laser, I moved onto investigating cutting plotters. I also can’t just try out ideas when I have them I have to trek over to the lab. ![]() This will be difficult if there are other people competing for laser time (I didn’t try this, maybe there is no wait during open hours). As a complete neophyte, I know I’ll need to run the same job over-and-over with different parameters until I get it right. ![]() The problem with option 1 is the lack of flexibility. Become a member for \$110/month, which would grant me 24/7 access to the space.Come in during open hours and pay-per-minute for the laser.I checked out a local maker space 7 and found that to use the laser, I had to take the training course for \$75 and then could either: That left renting or using a shared laser as my last option. There are low-cost Chinese models for ~\$400, but they require extensive tuning and troubleshooting I’d rather not deal with. Lasers are unarguably the superior machine – they are faster and more accurate – so I looked at them first.īuying a laser cutter was out of the questions because low-end models start at \$3k. Some Googling told me that the two options people go with are laser cutters and cutting plotters. Not surprisingly, I’m not the first person to explore computer-assisted precreasing: just a few months Origami USA published an article 6 on this topic. Jun Mitani’s work 4 creasing curves by hand is difficult to do cleanly Some models require computer-assisted precreasing, e.g.Folders typically go to some length to avoid revealing unsightly creases in their completed models, but the de facto convention for tessellations has been to show the precreased grid Reduce time spent cutting and precreasing.My motivating factors for exploring automated cutting/precreasing are: In the interest of spending more time learning new models and techniques and less time on repetitive work, I looked at some options. I actually do have a meditation practice and I’d rather keep these two interests separate. However, I think it’s important to think of it more as a meditative process, and instead of as a chore it’s a task which you must do to fold a model, and it is, to some extent, an integral part of the model, so it’s worth taking the time to do it well and not rush through it to “get it out of the way” Obody necessarily likes pre-creasing grids, including me. On his website, Gjerde acknowledges this plight of the lazy 3: Cutting and folding the same unit 100 times is no fun. ![]() As even moderately complex models can require more than 100 pieces, prework is a major component of folding modulars. Modular prework comes in two forms: cutting paper into the correct proportions and then folding each unit. Similarly, modulars require tedious and repetitive prework before you can start the real fun of assembling. ![]() There is no fun in spending 1h+ folding a grid every time you want to try a tessellation model. The majority of tessellations start with a precreased grid of squares or triangles (32x32 is common). I bought both books, dove straight into making models, and immediately found myself repeating the same steps hundreds of times. Luckily for me, origami advanced greatly while I was away and the first good books on tessellations 1 and wireframe modulars 2 were published by Eric Gjerde and Byriah Loper, respectively. animals and humans, and wanted to explore some new areas. I used to fold mostly representational models, i.e. After a 7-year hiatus, I recently started folding origami again and decided to focus on tessellations and modulars. ![]()
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