KEI MORISUE

Kei Morisue is one of those designers whose designs have defining features. While many designers focus on cramming as many flaps as possible in a single sheet of paper, Morisue instead paid more attention in implementing and utilising flat spaces, which allowed him to approach many previously underexplored subjects. Most of his designs can be grouped into two different categories. The first one is pictures created by colour-change patterning, in which both sides of the paper are used to 'draw' patterns on the flat space, as in the Sierpinski Gasket L5 and the Copyright Sign. The other type is models with heavy manipulation of wide spaces to create a sense of width, as can be seen in the White Hare of Inaba and the TIE Fighter. Sometimes, however, he combined both design characteristics in a single model, as can be seen in his Executor Class Super Star Destroyer and the model featured in this post, the Crested Kingfisher.

In his accompanying piece in the Crease Pattern Challenge section of Origami Tanteidan Magazine No. 144, he stated that the lack of the representation of crested kingfishers (ヤマセミ Yamasemi) in the origami world was his motivation to create the model. The designing process of this model started in early 2012 as a part of his 'long-term subjects'. He elaborated that he wanted to convey the sense of 'rotundity' and 'loveliness' with the model, but he struggled with the proportions of the model. After a period of frustration, he swallowed his pride and asked for the guidance of two of his colleagues, Hideo Komatsu and Naoto Horiguchi, in order to finish the design to a satisfactory state. Impressively, perhaps thanks to the involvements of Komatsu and Horiguchi, the structure of the piece was able to be achieved with 22.5 degree angles, albeit with some irregularities in the head area.

Morisue's ability to create the model with 22.5 degree angles, as well as Komatsu's input, have far-reaching consequences in the folding process. As the references were achievable with simple folding process, the precreasing process, which can be a massive pain for many folders, only took an astonishing eleven out of the 281 steps required to fold the entire model. Moreover, the folding steps after the precreasing stage follow a smooth progression, which was a pleasant surprise, considering that long, highly complex models like this can be mentally taxing to fold well (as an example, Shuki Kato's models fell into this category).

Unfortunately, the momentum of smooth progression was met with a screeching halt when the model started calling for consecutive pleats. Not only that free-folding pleats while maintaining proper proportion of the shape was difficult in the first place, I also had to deal with several annoying technical problems. Besides the fact that the paper I used was a bit too thick to achieve crisp minute folds, the sizing protocol used to properly join the Unryū and the Sekishū layers wasn't adequate, which resulted in a maddening degree of delamination during the folding process. This was the first time I had to fight against the paper in a long time, and I can safely say that wrestling against a stubborn paper while folding a technically challenging model was neither the most pleasant nor the most preferable of experiences. I'm contemplating on whether mixing a bit of PVA into the sizing formula would alleviate the crispness and the delamination issues.

Regardless of the annoying issues, however, while the countless free-pleating steps were awful, the process in general wasn't exactly draining; quite enjoyable, even. While some folders reported that making the model proportionally three-dimensional from the flat base was challenging, I found that it was surprisingly easier than expected; at least compared to the origami equivalents of having a colonoscopy while suffering from haemorrhoid that are Kamiya's Little Bird and Japanese Tree Frog.

I also found the rich potential of adding a dash of the folder's individuality to the model's interpretation neat, which is uncommon for models at this level of technical complexity. The wings, in particular, can be shaped to many different poses; either tucked or spread open, thanks to Morisue's choice of making the wings out of a flat plane. While I chose to keep the wings tucked in this rendition, I didn't hard-shape the wings with PVA like what I usually do with display models. Instead, I only used a little CMC to make the wings hold the general shape while allowing it to be spread temporarily to showcase the brilliantly thought-out structure.

The Crested Kingfisher, therefore, is one of the most 'incompletely complete' model. Not only did it achieve a great amount of detail, it is also a meditation on flat spaces--something that was commonly neglected in many modern complex models thanks to the collateral effects of the Bug Wars--while also leaving a spacious room for the folders to paint their own personality into the canvas. While ultimately not for the faint of heart, one shouldn't be afraid of attempting this model, for this model is more welcoming than it looks.