Creation is not an accidental process. It begins by looking at a subject and thinking of ways to create that subject. It is a logical process involving breaking down that subject into a number of simpler forms. I would not consider any folder who started from the base before the subject a true creative folder. Creation is a logical scientific process.
I look to a subject and unfold it in my mind right back to the square if possible - I try to break the model down into a sequence of simpler stages. When I pick up the piece of paper the model and the folding method are already there in my mind. I then fold the model straight out. This "first attempt" will normally be very close to the final model.
Once a model is folded, it is not complete. the folding method will use a number of "short cuts" (several folds made simultaneously) which will not be in the final folding sequence. The next stage (the longest and most important) is to devise an elegant and flowing method of getting to the finished model. This method must be simple, enjoyable and have no inelegance of compromise on the folding. Ideally, it must not be repetitive, it should have some element of surprise (the unexpected!) and each of the stages should be appealing (attractive to look at - the diagrams will be inviting). This stage is not really completed until the model has been taught. Many folders omit this stage - without it it's not a compete model.
I should have put this first! Every creator will set his won "condition" o the model: i.e. it must be one-piece, uncut, from a square, economical in use of paper etc. The more stringent these conditions, the more challenge in the creation. These are the guidelines in which the model will be created. In my view there is no room for compromise in those aims. (it's like being given clues to the answer of a mathematical puzzle).
A good creator must be very self-critical. If there is something that seems "not quite right", try and find a way out of it. There is always a way. I normally create several quite different models when approaching a subject.
Creation begins in parts. I look at a subject and break it down into sections. How can I create the head, what do we need to create the hind legs etc. You siplify the mdoel into a base; this is not a base in the sense of a Japanese base, but a combination of points and shapes from which you know you can create each of the individual parts of the model. I then try to think of a way of creating this base. Creation begins from the square!
Creative style: most good creators do not enjoy folding other people's models: the will be interested in seeing how a model has been thought out, what techniques have ben used. Folding is unnecessary and too laborious; the model can be thought out in a few moments from looking at the completed model. I see how other folders (like Max Hulme, Dave Brill) tackle their subjects, but do not normally fold the models or get too engrossed in their approach. It is very easy to get influenced by another folders style and this can make it very difficult to create in one's own style, without unconsciously including some of their ideas (it clouds the mind). For this reason I normally avoid folding other peoples models when I'm in a spell of creating.
I create most models in a few minutes, perfecting the method takes more time. I go through periods when models and ideas will flow at high speed. My crocodile I thought of while dozing off to sleep. I had to get up and fold it there and then in case I'd forgotten it by the morning. At other times I can think and fold for ages with little success.
Finally I'll just note down some of the things that are uppermost in my mind when creating: the points that I think are important in my creative style and approach.
- Method: I think the method is equally if not more important than the finished model. I try to create a simple elegant sequence of folds to the completed model. (I don't for example like the folds of John Richardson or John Montroll because these are technique with little thought for the elegance of the method.
- Contrast: Many of my models involve making use of the contrast between the two sides of the paper. Several are "two-subject" models, utilising the different colours for the different parts of the model. Others (eg. optical illusion modules, greetings card) use the contrast for effect. Other examples: Panda, Hand with greetings card, ship, seal on a rock.
- Economy: The model must be economical in the use of paper. There must be no unnecessary creases, paper or folding steps.