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D ie D eu ls ch e B lb ho lh ek - C 'P Emheu sau h abmc
R az an i, R am in :
P h an ta st l5 ch c P a pie ra rb e llc n F a ils dlllll lk alle ll s eio e r
rn ac he n, m il A ll l ei lu ug en U II (I I'la ne n In O ng m lg fo lie /
R am ll] R az alll, (U be rs , a u, d ern F ra nz . . L en a F uc hs ),
- A u gs b ur g: A u gu st us -V er i" 1 99 3
I S BN 3 -8 0 H 0 23 6 -X
N E : H S T
D a n k s a g u n g
Ver lag un d A u to r d a nk en d e r P a ple llllu h le F a bn a no fu r Ihre
groBzugJge Pap ie r spende d e s K a rt o ns , FA8R IANO 1,
22 0 g/m2 • sus d em d as M od ell .3. D ie E n ts te h un g d e s
B og en s« a us ge sla nz l w urd c, d as d ic se rn B lic h a ls Ubung s -
k a rl e b e ig e le g l w u r de
B ille b ea ch le n S ie d ie F alta nle ilu ng en a ul d en S elle n 3 8 I f
u n d d ie Hesch re l h l l ng d es Mnnel l s , r i a , , , " f d e n Se l l en 8 un d
4 7 a b g eb il de t 1St,
D " s W e r k em s ch ll eB ll ch aller s eme r Teile lsi u rh e oe n ec t t hc h
g e sc hu tz ! J ec e V e rw e rlu n g d u lle rl" ,lb d e s ll rh e be rg e se lz es 1St
o hn e Z us lim m en g d es v er la ge s u nz ula ss rg u nu si lafbar, DoS
gilt Insbesonde re fi ,r Verv l e f fa l t l g lrngen , l ' ibe rse f?ungen , Mikro-
v e r f u r n u r i g e n u n d d ie E lI 1s pe lc he ru n g u n d v er ar be rn m g I n e le k -
t ro m s e he n S y st em en ,
E s is t d c sh alb m ch t g es ta ne t, A bb lld un ge n d ic sc s B uc he s z u
s ca n ne n. i n P C o de r a lii C Ds LlI s p ei ch e rn o d e r In PC/Corn -
p ute m z u v era nc ern o de r e in ze ln o de r z us err me n m it a nd ere n
BJ ldvO I ' l agen2U r n ar n pu h e -e n , e s s e i d e nn r n il s c hr if tl ic h e r
C en eh rr ug un g d es V er i ag e s,
D ie i rn B ue h v er 6f fe nt ll ch te n R a ls ch la ge w ur de n v on v er ta s se r
u n d V e rla g s or gf al tig e ra r be u et u n d g e pn n t E in e G a rz nlie
ka n n d cn no ch n i ch t u be rn o nm en w erden . E bc n s o is t ci ne
H a f lu ng d es V e rla s se rs b z w V e i l a ge s u nd s em e r B e a u n r a g l e n
fu r P erso nen S ach u nd ver rnogensschadan acsgesc i lcs sen .
J ede gewe rb l lc he N u tz un g d e r Arbei ten u nd E ntw ur fe ts t nu r
m it G e ne h mlg u ng v on V e rla ss er u n d V e rla g g e st at te t,
B e l d er A nw en du ng rm U nle rric ht u nd in K urs en 1 51a uf d ie se s
[ 3m : t J b i n zu w o i sc n
O b e rs e lz lI n g a u s de" , F ra o zo sr sc oe n L e na Fuchs , Augsburg
Fotogra te
M a no Ciampr , A 1 le s sa n d ro C r am p , F lo r en z I F ar bl ot o s)
F r an c es e a N u ti , A f le s sa n d ro Pre l im, F l o ren z I s /w - F o to s ) ,
t ek to r ut . M i ch a e l S c h on b e rg e r
Umscntaggeslat luog Chr ista M a n n er , M i Jl 1c h er r
Layout : An ton Wal ter , Gunrfe l f l l1gen
A UG US TU S V ER LA G A UG SB UR G 1 9 9 3
© Woi lb i ld Ver lag G m b H, A u gs bu rg
D ru ck : A p pf . W e m d in g
I S B N 3 - 80 4 3 -D 2 3 6 -X
Pnnted 11 1 Germany
Inhal t
Ein fUhrung
G a le rie d er M o de lle
E rla u te rn de r T e il
M a te ria l u nd W e rk ze ug
D as P ap ie r
D as O b ertra ge n d er V orla ge
E ln lg e p ra ktls ch e T ip s
D i e G r und fa l tungen
Vorubungen
Fa l lh inweise
Vor lagen
U m s etz un g v on K un stw e
fu r C utte r und P ap ie r
E in ig e B eis pie le fu r
d ie A nw endung in de r W
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E i n f O h r u n g
In K in de ra ugen s ieh t m an m anchm al E nt-zucken u nd F re ud e uber e in n eu es S pie l.
1 st da s v ie lle ic ht c le rs elb e la ub er, w ie ih n
v or e in p aa r J ah rh un de rte n W is se ns ch aft
u nd F o rs ch u ng e ln ig e r w e nig er G e le hr le r
v e r b re ile te n - e in la ub er, d er S la un en ,
ja m bg lic he rw eise M iB tra ue n b el d en e ln -
f ac h en L e ut en hervorrlef?
A n de re rs eils w u rd en g e ra cie im Z e ita lte r
d er A ufk la run g, a lso a ls d ie M ag ie a n E in
f luB ve r lo r , ) , v e rwand l ungsb i lde rbuche r«
pop ula r - he ute w Orde m an s ie »P op -up -
B ild erb uc he r« n en ne n -, [e ne B O ch er, in
d en en F ig ure n a us ge sc hn itle n u nd g efa l-
te t s in d, d ie b eim O tfn en d er S eite n z u m
V or sc he ln k omm e n : U rs pr O ng lic h w a re n
s ie w is se n sc ha ftlic he l.e h rb uc he r g e -
w es en , n un e rs ch ie ne n a uc h K in de rg e-
s ch ic hte n in d ie se r A rt
W a s i ch Ih ne n h eu te v or ste lle , s in d c e r n -
n ac h S p ie le , d ie s ic h s ch w er ill K a te go ri-
e n e in ord ne n la ss en , w ie s ie d en E n zy klo -
p ad en s o w ic htig s in d: m a gis ch e S p ie le ,
s p ie le r is c h e Ubungen , e x pe ri men te ll eS p i e l e , R au m e zu m S pie le n, S pie le d er
L e g i k .
Pap ie rsp ie le , d ie de n m einen se hr ahn l ich
wa ren , wu r d en 1925 im s o ge n a nn te n
»Vorku rs«des Baunauses v on J os ef
A lb ers e in ge fU hrt, d er z us am m e n m it
L a sz lo M o h o ly -N a g y v e ra n tw o r tlic h w a r .
A lb ers w ollte d ie A ufm e rk sa m ke it d er S tu -
d en te n a uf d ie W a nd lu ng en d er F orm le n-
k e n , d ie n i c h t n ur d ie S tru ktu r, s on de rn
a u eh d a s o pt is eh e u nd t ak tile V er ha lte n
d es M a te na ls b ee in flu ss en ; d ie Id ee n v on
L a s zlo M o h o ly -N a g y h in g eg e n r eic h en
Oberre in padagog ische E r fo r de rn ls se h ill-
a u s - e rin n e rn w i r u n s nu r a n se in e k ine -
t s c h e n E xp erim e nte m it F oto gra fie n u nd
F ilm e n . S o s e hr e ib t L a s zlo M o h o ly -N a g y
n w on m a te ria l z u a re hite ktu r« ( Ba nd 14
de r B a u h a u s b u c h e r ) :
ra um ges ta ltung is t n ich t in e rs te r
lin ie e ine fra ge de s ba um a te ria ls
som it bes teh t e ine heu tige r au rnges ta l -
tu ng n ic ht in d e r z u samme n f i. ig u n g
schw ere r baum assen , n ieh t in d e r
seha ffun g von hoh lkb rpe rn , n ieh t ind e n la g eb ez ie hu n ge n r eic hg e glie d er te r
vo lum en , a ueh n ich t in de r n ebene in -
a nd erre ih un g vo n e in ze lze lle n g le ich en
o de r v er sc hie de n en v olu m e nin ha lt s.
ra um ges ta ltung is t he u te v ie lm eh r e in
ve rw obense in von ra um te ilen , d ie
m eis t in uns ich tba re n. a be r deu tlich
spu rb a re n bewegungsbez i ehungen
a lle r d im ens io nsrich tungen und in f l u k -
tu ierenden k r a f t e ve rh a l t n i s sen ve ran -
k ert s in d.
( ... ) h au ptg es ta ltu ng sm itte l is t im m er
nu r de r ra um , von dessen gese tze n
a usgehe nd d ie g es ta ltung zu e rfo lgen
ha t .
M ein e W erke a us P ap ie r gehen von e iner
g eo m etris ch en Z eic hn un g a uf e be ne r
O be rtta ch e a us . U m d re id im en sio na l zu
w erd en , b ra uc he n s ie B ew eg un g, SO Z U -
sagen erne v i e r t e D im en sio n d es l l b e r -
g an gs , u nd e ntw icke ln s ich in e in er fe st-
g e le gte n A b fo lg e v on H a n dg riffe n llber-
t r agung in de r E bene , D re hung in de r
E be ne , F altu ng e ntla ng d er S ym m e trie -a chse und d ie S um me von a lledem . D ie
Ve rb indung von Z eit und 8 ew egung e r-
s ch a fft je ne »Gesta l tung« , vo n d er L asz lo
M oh oly -N a gy sp rich t. D urc h e in en zu m
Te i l s eh r g en a ue n, [a r it ue lle n B ewe gu n g s-
a bla uf a ls o n im r n t e tw as Fo rm an , da s
e tw a s a nd er es d ars te llt, a ls e s e ig en tlic h
1S t . A be r m e hr a ls e in e » un sich tb are
B ew eg un g« e rsch ein t m ir d as w ie e m
S pie l o de r e in e k le in e la ub ere i, d ie e in en
Raum erzeugt, d er s elb st w ed er Ze i t noch
Mater ie i s t .
M ein e T ech nik d es P ap ie rfa lte ns la Bt a n
O riga mi den ken , a be r es is t vo r a lle m d as
M om en t de r B ew egung , d a s an a lte ,
zu na cn st e hin es isc he u nd sp ate r ja pa n i-
sene R iten e rinne rt: e tw a a n N osh i u nd
H inam atsu ri. D abe i g eh t e s um den
F is ch , e in w ic htig es , a llta glic he s N a h-
E IN FOH RUNG
ru ng sm itte l. N os hi is t e ln B ra uch . b ei
dem m an den kos tba ren F is ch N osh i
A wa bi u m hu llte u nd ve rsc he nk te , b eim
H in am a ts uri w erd en k le in c, g ew e ih te
Pap i e rpuppen an lab l lch de r Fe ie rhchke
te n ru nd u m d en F ise hfa ng a ng efe ru gt
S aw ah l im sa kra len R itus a ls a ueh in
r atio n alis tr sc he n L eh re tr effe n G e is t u
M ate rie a ufe in an de r, u nd d as b irg t fU
un s U b erra sc hu ng , ja Z a ub ere i: A be r
e in faehe handwerk l iche T e ch n ik b rin g
d en V org an g d em A llta g naher a ls t ra n
z en de n te n G o tt he ite n o d er u ta p is ch e n
Idealen.
A uB erd em ka nn m a n » rn eln e K on stru k
n en « le ie ht a uf d ie m en sch lich e G es ta
b ez ie he n, w le v erk le in er te M a de lle e in
g rb B er en O b je kte s, d ie Ir ge nd je m a nd
b au en u nd d ie Je rn an d a nd ere r a ns eh
e n kbnn te : D inge , d ie s ic h a nfa sse n u
benutzen la ss en , a ue h w en n s ie aus
» nie hts« g em a ch t zu s e m sehe i nen .
M an chm a l beo ba ch ten w ir e in K ind , d
m it »n ich ts« sp ie lt U nen dlich la ng un
m it a ufm erk sa rne m B lick p us le t e s un
b ea ba ch te t da s S pie l des S ta ubs in
e in em e in ze ln en S o nn e ns tr ah l ir n Ha l
sch atle n e in es Z im m ers . U nd w ir, d ieG ro Be n, v erh arre n s ta un en d u nd s ch w
g en d v or d iesern la ub er. S pie lt e s o de
s tu die rt e s d ie S c hw e rk ra ft7 Ic h w e iB
n ic ht, o b ic h s pie le o de r Ie rn e, w e nn i
z eie hn e, E llip se n u nd p as se nd e W in ke
e r re e h ne , s c hn e id e und fa lte . Ic h w e iB
d aB ie h » za ub ere «: lch b esch aftig e rm
m it v erg es se ne n F ertig ke ite n, in d en en
g en ug en d M a te ne lie gt, u rn d ie E rg eb
se a nla ssen zu konnen , un d ge nuge nd
W is se ns ch aft, u rn N e ue s z u e ntd ee ke n
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6 I G AL ER IE D ER MO DE :.L Lt
G a l e r i e
d e r M o d e il l e
1 . In ta rs ia
E in im a gin are r W u rfe l a us PA rt Deco e rin ne rn , w ird a llm
wand ige r .
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· - -- -_
G A lE R I E D E R M O D E l lE
2 , l l b e r Kreu l
W e n n m an d as O b je kt d re ht, e rs ch ein en
u nd v ers ch win de n d ie L in ie n lrn W e ch se l.
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8 G A l C R I E D E R M O D C l lE
3 . D ie E n ts tehung des B og en s
( s iehe be ihegende ubungskar t e )
Z a hlr eic he z ie rlic he , g ot his ch e D re ie ck e
bi lden e i nen sta rken B og en in Form e ln er
b aro ck en E llip se a ls D ach fu r e in e h yp er-
belar l ig g e fo rr nt e K ir ch e .
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· - .-~-
G A l E R I E D E R M O D E l l E
4 . P fo rte in der W an d
Ai le agyp li s che Turo tf rung
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1 0 G A l E R I E D E R M O D E l l E
5 . M e e re s tr ep p e
Id ea le B Oh ne fu r ta nze nd e F is
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6 . P o ly ph on ie im K ub us
De rE i nd r uc k po ly phone r V ie ls c hi ch t ig k e it
e rtste ht d ad urc h,d aB m a n d ie se lb e F ig ur
gielchzeitig au f d re i r ech tw ink l ig zueinan-
d e r a n g e ord n et en E b e ne n w a hr nimm t .
G A L E R I E D E R M O D E l l [
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1 2 G A l E R I E D E R M O D E l l E
7 . B lo ck m it E in sc hn it
E ine S pinne ha t d ie W ande e
a us ge hb hlt u nd s ic h s o e in e
m it Z irn m ern a us L in ie n g eb a
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.--- --
G A l E R I E D E R M O D E l l E
8 . D i v e r g e n z
D ie b eld en la m elle n- Pris m en w id erh alle n
o ptisc h b eim V oru be rg eh en d es B etra ch -
t e r s .
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1 4 G A l E R I E D E R M O D E l lE
9 . A usw eg aus d em L ab y r in th
E s h an de lt s ic h u rn z we i q ua dra tis ch e
Sp i r a l en .
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10 . V ie re c k m it fun l Sei ten
, o d e r e m e P y r a m id e a us fu n f V ie r e c k e n ?
GALE R IE D E R MODE LL !:.
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- - - - . _- -=--------- .
1 6 G A l E R I E D E R M O D E l l E
1 1 . D o p pe lte Hoh l unE in B og en w ird im V erla uf s
im m er g rb Be r; d ad urc h b ild e
d o pp elte H o h lu ng .
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- - -- -
G A lE R I E D E R M O D E l l E
12 . Fo ss ile s S c h i f fD ie A rch e a uf d em B erg A ra ra t
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1 8 G A lE R I E D E R M O D E l l E
1 3. L uft ig er P la tz
D l es e s S c ilm e t te rli ng s tr ef fe n e n ts te h t
d urc h d ie U b ers ch ne ld un g z we ie r O rig am i-
G rund fa l tungen .
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1 4 . E in e B lo te wachs t
W ie b e i e in em S te in , d er in s W as se r
g ew orfen w ird , od er w ie b ei e ine m T on is t
m a n h ie r Z eu ge e in er rh yth m isch en A us -
b re itu ng im R au m .
G A l E R I E D E R M O D E l l E
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2 0 G A l E R I E D E R M O D E l l E
1 5. U rs p ru n g
D a s E nd e d es U n en dlic he n
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1 6 . K r is ta l l i s ie r e n d e s P a p ie r
N a ck te S o ld a te n , e in e (R o li- )tre p pe h e ra b -
k ommend
H om m ag e a n M arc el D uch am p
G A l E R I E D E R M O D E l l E
M arce l D ucha mp IJ8 87 - J% 8) stellte 1 9 12 e r n B r ld r l1
T i le l » N u d c s ce id a u l un e s c a ' ie r « I »Ak t e rn e T re p pe h e r
s le ig er uk ) a u, . Gr ol le , Interesse hatte D uc ha m p s uc h
E x pe rr ne n te , d ie s ic n 1 1 1 1 1 d e l m a le r rs c he n D a rs te ll un g
vo n mlilcilen B ew e gl Jn g s ab la u fe n b € fa B te n .' ( F ri tz W i n
De , ro roro Kuns t le r l .e xk on . R ein be k 1 98 5, S . 80 )
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22 ! G AlE RIE D ER M O DE llE
1 7 . K o n v e rgenz
au f d en T r eppen
D a s A us ke hle n e in es W u rfe ls
d re ie r s ein er D ia go na le n s te ig e
sp ek tive - e in typ isch es V erfa h
Rena i s sance .
- - - - ~- -- -- ~---- --
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G A lE R IE D E R M OD E llE
18 . G le ich la uf d er R ud er
D ie re ch tw in klig en S ch nitte u nd d ie d
p elte n, s ch ra ge n F altu ng en e rz eu ge n
d yn am is ch en E in dru ck d er b eid en G a
Ebenen .
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2 4 G A l E R I E D E R M O D E l l E
1 9. W i ndm e Bb uc h
F un ktio nie rt n ur a ls b ew eg lic h
W enn m an es w ie e in S uch o
dre ht s ich da s Zentrurn w ie e
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G A l C R I E D E R M O D E ll E
20 . In den W ellen
D re is timm i g e r K a n an
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2 6 J G A L E R IE D E R M O D E l lE
2 1 . A u B e n s k e le t t
D ie se P ap ie rR lp pe n e nts te he n d urc h d ie
D re h un g d e r H a lb kr eis e.
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G AlE RIE D ER M OD EllE
2 2 . S te ig e ru n g
lr n V e rla u f t ek to n is c he r B ewe gu n ge n
n ah ern s ic h z w ei G e la n de te ile e in a nd er
und heben die E rdk rus te in de r M itte a n;
h ie r h a t e in P a pie r-E rd be be n d ie S c hn itt -
fo rm en rund um einen fre ien R aum in de r
M i tt e g ehoben .
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2 8 1 G AL ER IE D ER M OD EL LE
2 3. S ch a ch s pie l
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24 . Huch t r ge r Stern
G A lE R I E D E R M O D E l lE
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3 0 I G A lE R I E D E R M O D E ll E
2 5 .. E in K afig v oller Ster
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2 6 . Escher- I reppen
G A l E R I E D E R M O D E l l E
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32 I G A lE R IE D E R M O D E llE
2 7 . K a t h e d ra l e v o n B r a
( B r a s i l i e n )
O sc ar N iem ey er, 1970
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28 . B ran den burger T or,Be r li n (Deu tsch land )
Kar l Go t t fr i ed langhans, 1789 - 1793
G A l E R I E D E R M O D E ll E
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3 4 1 G A lE R I E D E R M O D E ll E
I
29 . S ch iefer T urm , P is a
( I ta l ien)
B on an no P is an o o de r D io tls alv i,
1173 - 1301
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3 ~. S an G im ig na no (Ita lien )
Ve rs ch ie dene Baume is t er
d e s 13 . Jah rh unde r ts
G A lE R IE D E R MODEl lE
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3 6 1 G A lE R I E D E R M O D E llE
31 . N eue S t aa t sga l e ne ,
S tu tt ga rt ( D eu ts c h la n d )
J ames S tir lin g ,
M i c h a e l Wilford & A ssoc ia tes , 1977 - 1
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Er lau te rnde r lei: I
M a t e r i , a lu n dwe r k z e u g
Grundauss ta t tung1 . D as P ap ie r, a us dem d ie M ade lle
a n g e f e r t i g t werden
2 . E in B le is tift: E in e h arte M in e (rn in de -
s tens 2H ) e rla ub t s au be re re s A rb eite n
3 . E in R ad ie rg umm i
4 Z wei W in ke l: e in er m it 45° u n d einer
m it 60°
5 . E i n Z i rk e l
6 . E in linea l a us M eta ll oder besser
n oc h e in es a us K un sts to ff m it S ta hlk an te
7 . E i n Cu tt er
Werkzeug ,
d as d ie A rb eit er le ic hte rt
8 . Elne Schne ldun te r lage : aus e inem
M ate ria l. d em d er C utte r nichts anhaben
ka nn ; w er ke ine so lche U nte rla ge ha t,
ka nn a uf einem d l c k e n Ka rto n s ch n eid e n
g . E in Cutte r m it a ngesp ltz te r K linge: M an
h alt ih n w le e in en F ed erh alte r; e r s ig ne t
s lch besonders gu t zum S chne iden von
Kurven
1 0. E in C utte r z u r n A us sc hn eid en v on
Kreisen
11. E ine M eta llsp itze , m it de r Locher ins
P ap ie r g es to ch en w erd en konnen ,
sie ka nn d urch d ie Z irke lsp itze e rse tz t
werden
1 2 . Transparentpapier
13 . G ra ph itp a pie r: e in e A rt K o hle pa p ie r,
a ber d ie S ubsta nz, d ie d ie Z eich nu ng a uf
das P apie r ubertra gt, is t Cra ph it und la l3t
s ic h r ad le re n
M ATE RIAL UN O W ERKZE UG
1 4. K oh le pa pie r: k an n d as C ra ph itp ap i
e rse tzen , a be r d ie U be rtra ge ne Z eic hn
la B t s ic h n ic ht e ntfe rn en
15. K le be fllm . E r so llte s ich w ie de r a b
s en la ss en , 50 b esch ad ig t e r d as P ap
nicht
1 6. A lle sk le be r (z .B . U hu )
1 7. D op pe ls efg er, w ie de r a blo sb are r
K lebe film : sehr p ra ktisch , denn m an
ih n abne ilm en und d ie M ade lle w iede
of fnen.
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E RL Au TE RN DE R T El L
D as P ap ier
D ie D icke des P ap ie rs w ird anhand des
G e wlc hts p ro Q u ad ra tm e te r a ng eg eb en .
Fur M ade lle , d ie so groB s ind , w le h ie r im
B uch vorgesch la gen , gen ug t es , w en n d as
P ap ie r a us re ic he nd d ic k 1 St, als o z wis ch en
160 s/m' und 220 g /m 2, abe r w enn S ie
d ie M ade lle ve rg rob ern w olle n, m uB d er
K arta n a uB erd em ste ife r se in .
A lle rd in gs b estim m t n ich t a lle in d as
G e wic ht d ie techruschen Eigenschaf ten
d es P a ple rs . WII· b ra uc he n n ic ht z u
d ic ke s, a be r z ie m lic h s te ife s P a pie r
( FABR IANO 4,220 g /m l, ader H AM MER
DUREX 200 gjm~). L e ic h te re P a p ie re
(FABRIANO 5, 1 60 gjm' o der H AM ME R
KARAT 150 g fm?) s ind b iegsa mer und
le ich te r zu ve ra rb eite n, h alte n a be r d ie
Form sch lech te r S ie e ignen s ich da her
gu t fu r den A nfa ng
Fu r de kora nve M ade lle ka nn m an m eta l-
lis ch o de r fa rb ig b es cb rc hte te s P a pie r v er-
w en de n. W en n S t e k ein es in p as se nd er
S ta rke finde n, kon nen S ie e in du nnes
B la tt m e ta llis ie rte s P a pie r m it S p ru hk le be r
a uf d icke s, w eiB es P ap ie r k le be n. A m
besten ka ufen S ie da s P ap ie r gleich au f
k le in es F orm a t zu ge sch nitte n, a be r a uc h
w enn S ie e ine n g ra Ben B oge n ka ufen , ro l-
le n S ie ihn n iem als em , denn e inm al e in -
g e ro llte s P a pie r n e ig t im r ne r da zu , s ich zu
kru rn rn en u nd so d as M od ell zu ve rfo rrn en .
A uB erdem rich te n s ich d ie F asern , a us
d enen da s P ap ie r be ste ht, p ara lle l zu
e in ern d er R an de r a us. E s e rn pfie hlt s ich ,
P ap ie r zu verw enden , be i de rn d ie F asern
s en kre ch t z urn M itte lb ru ch v erla ufe n (fa lls
e s e me n g ib t).
U rn d ie A us rich tung der F asern zu erken-
nen , m uB m an nur e in k le ines Pa pie r-
V ie re ck n ach b eld en S eite n b ie ge n:
D ie S eite , d ie s ich sch we re r b ie ge n la Bt,
li eg t i n F a s er ri ch tu n g .
Ze ichene r k l a ru n g
Schn i t t ln le
B e rg fa ltu n g ( sie he F a ta )
Tal fa l tung (s iehe Fota )
Hilfs l inie
A B e inen T eil des P ap ie rs so
a ut de n a nd eren sch ie -
ben , daB Punkt A
a uf P unkt B trifft
f\e in en T eil d es P ap ie rs
so a uf den a nderen
drehen , daB Punkt A
A B a uf P un kt B trifft
D ie S te rn e g e be n d en S c hw ie rig ke ils gr adan :
le ich t
mit te l
s chwer
F Or d ie se A rb eite n s in d d re i V org an ge
not ig:
d as S ch ne id en , d ie B erg fa ltu ng (h in te n)
u nd d ie T a lfa ltu ng (v arn e).
Z urn S chne ide n verw ende t m an
C utte r u nd druckt Ihn so fe s t au
d as P ap ie r in se iner g anzen D ic
s ch nitte n w ir d.
F ur d ie B erg fa ltun g m uB m an z
V ord erse ite d es K arta ns m it d em
e in rilz cn , un d zw ar e tw a b is zu
Papiers tarke.
F ur d ie T a lfa ltu ng r i tzt m an d ie
P a pie rrO ck se ite . E s g en ug t, L oc
b eid en a uB ers te n P un kte je de r
lin ie zu ste ch en , d as B la tt u mzu
und m it dem Cutte r zu ritzen .
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D a s Ubert ragen
d e r Vor lage
1 . D ie V orla ge im B uch a usm essen und
au f d e m P apie r n eu a utze ich ne n: d ieg en a ue ste , a b er a u ch d ie s ch w ie ng ste
M e t h o d e , ha t aber den v o r t e l l , daB m an
d ie G e o me tn e d es M od ells g ut v erste ht.
2 . D ie Vo rl ag e a u f T ra n sp a re n tp a p ie r
a bz eic hn en , d as p ro vis oris ch a uf d em
K arto n b efe stg en u nd d ie a ub ers te n
P un kte d er S ch nittlin ie n m it e in er M eta ll-
s pitz e d u rc h L oc he r m a rk ie re n: z ie m lic h
g en au u nd r ec ht s ch ne ll.
3 . D ie V orla ge fo to ko pie re n u nd w le m it
d e m T ra ns pa re ntp ap ie r a uf d en K arto nu be rtra ge n: g eh t sc hn elle r, is t a be r w eg en
d er V erz erru ng en d urc h d en K op le re r
wen ige r genau
4. D ie V orla ge d ire kt a uf d as P ap ie r ko pie -
re n, d as g es ch nitte n w erd en s oil: e tw as
u ng en au w eg en d er F oto ko pie u nd n ich t
s eh r s au be r, w e il s ic h d ie K o ns tru ktio ns -
lin ie n n ic ht a u sra d ie re n la ss en .
5 . D as P ap ie r, d as g esch nitte n w erde n
so il, zu sa m me n m it e in em B la tt G ra ph it-
pa per un te r d ie B uchse ite sch ieben . m itK le be film v oru be rg eh en d fixle re n u nd d ie
V orla ge m it e m er a bg eru nd ete n M eta ll-
s pitz e o de r e in em B le is tift d ur ch ze ic hn en :
rech t gena u und sa uber, w ell m an G ra -
p hit w e gra d ie re n k an n.
Ein ige
pra ktisch e T ips
oW enn m an sta tt de r B erg fa lten T alfa l-
ten a rbeite t und um gekehrt, en tsteh t dieF altu ng a uf d er s au be re n Seite des
P apie rs , und d ie Zeichnung ble ib t a uf der
R LJc ks eite d es M od ells , d as is t b es on de rs
dann von Varte il, w enn m an d ie Vorlage
m i t K o h le p a pie r ube r t ragen h at, d es se n
S pu re n s ich n ich t e ntfe rn en la sse n.
o E s e mp fie hlt s ich , zu ers t d as P ep le r
fu r d ie F altu ng en Z L I ritzen und ers t da nn
zu schne iden , denn wenn d ie L in ien ers t
e inm al geschn itten sind , gehen d ie
L och er fu r d ie E nd pu nkte d er T alfa ltu nge n
ver loren
o U m d as F alte n zu e rle ich te rn , so llte
m an d ie Fa ltlin ien so w elt w ie rnog lich
ein ritze n. A be r A ch tu ng : D as P ap ie r d arf
n ich t g an z d urc hg es ch nitte n w erd en .
o We nn S ie ve rs eh en tlich e in e F altlin ie
du rch sch ne id en , m a ch en S ie w eite r, u nd
beenden S ie d ie Fa l tung d an n kle be n
S ie em S tuck sehr dunnes Pap ie r m it
flu ss ig ern K le bsto tf a uf d ie R uckse ite d es
M od ells . B ev or d er K le be r tro ck ne t,
sch lieBen S ie das M ode ll und o ffnen es
wieder.
oW enn da s M ode ll e rs t e inm al geschrn t-
te n u nd ge rltzt t s t , s ollte n S ie a ile F altu n-
gen ganz le ich t kn icken , indem S ie m it
d er E la stlz lta t d es P ap le rs spie le n, o hne
da B d ie T eile des M ode lls darun te r le lden ,
d ie n ich t g efa lte t w erd en so lle n
o D as M od ell e nts te ht in a ule in an de rto l-
genden Abschn itten In jedem davon 1S t
e s w ic htlg , a ile K nlffe z u v ersta rk en
(a uB er be l de ll M ode llen , bei denen e tw as
a nd ere s a ng eg eb en ist).
oW enn a ile K nicke gut a usgepra gt s ind ,
m lJs se n S ie d as M od ell v olls ta nd ig
zu sa mm en kla pp en , a ile K niffe tla ch -
d rucken und da s M ode ll w ieder o ffnen .
UBERTRAGEN DER VORLAGE I
o E in ig e M od elle e nts te he n d urch d as
U be rein an de rscbie be n o de r D re he n d e
P ap ie rs . W e nn s ie fe rtig g efa lte t s in d,
m u B m a n d ie b eld en a ufe in an de rlie ge n-
d en P a pie rs ch ic hte n m it d op pe ls eitig em
w ie de ra blb sb are m K le be ba nd (o de r A l
k le be r, z .B . U h u) fix ie re n.
OD ie Mode lle in d iesem Buch s ind in
z we i G ru pp en a u fg ete ilt. geo rne t r i sch -
abst rak te O b j e k t e u nd fig urlic he M o de l
In je de r G ru pp e ste ig t de r Schw ie r ig k e it
grad VOIl l l eic h te s te n z um s chw ie ri gs te n
M ode ll an Ich em pfeh le Ihnen , be im
N a ch arb eite n d ie se r E in te ilu ng z u fo lg e
um na ch und na ch in den S chw ie rigke i
g ra d en v o ra n zu k ommen .
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E R LA U TE R N DE R T E lL
G ru nd fa ltu ng 1
G ru nd fa ltu ng 2
G ru nd fa ltu ng 3
D ie G rundfa ltu
W enn m an e in R ech te ck
in d er M itte fa lte t, s te llt m
m e ns io na le s O b je kt h er,
v ie lle ich t. F ug t m a n "M el
zw ei K nicke h in zu , e rh alt
K ubus (s iehe U bung N r.
d as S pie l s ch wie rig er m a
im m er ko mp lexere F ig ure
d a s g le ic he , z we im a l g efa
zuru ckg eh en (s ie he O bu n
N r. 6 ). D esh alb n en ne ich
fa ltu ng (G ru nd fa llu ng N r.
A nz ah l v on G ru nd fa ltu ng en
da vo n a bo A nd ere en ls teh
sch ieb en o der D re hen vo
P ap ie rs . F ast a ile M ade lle
s in d a usg eh en d vo n se ch
g en e ra rb eite t. H ie r e in e L
d ie s ich von jed er vo n Ihn
G ru nd fa ltu ng 1Made l le :
1, 2 , 5 , 6 , 7, 8 , 9 , 10 , 12 ,
20,23,27,28,29,30,31,32,33
Grund fa l tung 2
M od ell: 3 5
Grund fa l tung 3
M ade lle : 14 , 2 6, 34
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GRUN DFALTUN G EN
G r und fa lt un g 4
Mod ell e: 3 , 2 2
G ru nd fa ltu ng 4
G ru nd fa lt un g 5
M ode lle : 11. 15
G ru nd fa ltu ng 5
G ru nd fa ltu ng 6
M ade lle : 4 , 2 1
G ru nd fa ltu ng 6
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42 I E R LA U TE R ND E R T E lL
Vorubungen
Au f d iesen be lden S eiten finden S ie zehn
s eh r e in fa ch e F ig ure n a ls v oru bu ng en ,
d ie z w ei v ers ch ie de ne Z ie le v er fo lg en .
Z una chs t e inm al is t es fu r a ile , d ie n ich t
im Um gang m it Cu tter und Pap ie r geub t
s ind , s innvo ll, m it dem S chne iden und
F a lte n e in fa cl1 er O b je kt e z u b eg in ne n.
S ie le rnen so e ine rse its , den D ruck be lm
E in ritz en d es P ap ie rs ric htig z u d os ie re n,
oh ne da s P ap ie r d urc hz usc hne id en ; a nd e-
re rse its kom m en S ie , w ahrend S ie in den
U b un ge n v ora n sc hre ite n, a llm a h lic h
dra uf, w elc he Vo rsic hts ma Bn ah men S ie
treffen rnussen , um d ie O bjek te zu fa lten ,
o hn e s ie z u ze rstoren . A uB erd em e rle rn en
S ie d ie g ru nd leg end en B ew eg ung en a us-
z ufu hre n, d ie S ie fu r k om p liz ie rte re A rb ei-
te n b ra uc he n w erd en .
Dagegen f in d en e xpe rimen ti er fr e ud ig e re
M e ns ch en in d ie se n F ig ure n A us ga ng s-
p un kte , d ie , e rs t e in m al e ntw lC ke lt, z u
k om p liz ie rte re n We rk en f uh re n.
l l bungen N r. 1 , 2 , 3
Ubungen N r. 4 , 5 . 6
llbung N r. 1
is t d e r A u sg a ng s pu n kt
fu r M odell N r. 1 .
Ubung N r. 2
is t d er A u sg an gs pu nk t
fu r M ode ll N r. 6
........... ] - - - -
---------
llbung N r. 4
is t d er A u sg a ng sp un kt
fur M ode ll N r. 16
llbung N r. 5
is t d er A u sg an gs pu nk t
fu r M ode ll N r. 2 .
Obung N r. 3
1S td e r Au sgangsp
fur M ode ll N r. 1 7
///'/
/
///
-----(... ,. --------,-,-,
,,-,,,,,
-,,
U bung N r. 6
i st d e r A u sg a ng s p
fu r M od ell N r. 10
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VORUBUNGEN
Ubungen N r. 7 , 8
I!
I i
I I
O bung N r. 8 is t de r A usgangspunkt fu r M ode ll N r. 2 2 .bung N r. 7
D ie O bun g e n N r. 9 u n d N r. 10
e ntsp re ch en d en G ru nd fa ltu ng en N r. 5
u n d N r. 6 , vo n de nen im vorig en K ap ite l
d ie R e de w a r.
Hinwe ise
fu r das Fa lten
D ie A nle itun gen u nd Fo tos a uf d er fo lgd en D op pe ls eite b esc hre ib en d en W e
g an g d re ie r M a de lle . D ie se d re i O bje kt
h ab e ic h a u sg ew a hlt, w e il e in ig e b es on
A r b elt sg c lf lg e f ur ih r e H e r st el lu n g n b lig s
A ul3e rd em w erd en fU r » Po lyp ho nie im
K ub us« (M od ell N r. 6 ) a ile A rb eltsg an g
d er R eih en fo lg e n ach b es ch rie be n, d a
d ie se r A bla uf a ls M us te r fU r a nd ere A
te n d ie n t.
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E R LA U TE R ND E R T E lL
P olyph on ie im K ub us(D ie V orla ge is t b ere its a uf d en K arto n
ubert ragen. )
1. D ie E nd pu nkte d er T alfa ltu ng d urch
L o ch e r m a r ki er en .
2 . D as B la tt um drehen und zw ischen den
m a rk ie rte n P un kte n ritz en .
3. D as B la tt w ieder um drehen und d ie
B e rg fa ltu n ge n n tz en .
4 . D ie S c hn ittlin ie n d ur ch sc hn eid en .
5 . D ie g eritz te n L in ie n le ich t kn icke n
( B er g- u n d T a lf alt un g e n) .
6 . N a ch und nach den Kubus in der M itte
u nd d ie T alfa ltunge n en tla ng d er W ande
kn icke n, ohn e den R est zu fa llen .
7 . D ie un te r P unkt 6 a usge fO hrte n F altun -
g e n v o ll ig tl ac h dr uc ke n .
8 . Z um 9 0-G ra d-W in ke l offnen
9. D ie b eid en a nderen K uben
und je we ils nur e in en a uf e in m
10 . D ie K niffe fla ch cru cke n u nd
of fnen.
1 1. D ie A rb eit is t b ee nd et.
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P f o r t e in d e r W a n d
1 . D as P ap ie r ritze n u nd sch ne id en u nd
a il e K n i ff e l ei ch t m a r k ie r en .
2 . S c hritt fU r S ch ritt e in en d er b eid en
Tei lefa l ten.
3 . D i e Kn if fe v b ll ig f la c h d ru c ke n .
4 . W ie de r z um 9 0-G ra d -W in ke l o f fnen .
5 . D ie F igu r um d ie senk rech te A chse
drehen und d ie S ch ritte 2 b is 4 a u f de r
a n de re n S e ite w ie d er ho le n .
6 . D ie A rb eit is t fe rtig .
Sch iefer Turm von P isa
;9
1 . D as P ap ie r ritzen L in d sch ne ide n u nd
a ile K niffe le ic ht m a rk ie re n.
2 . Z una chst den T urm fu r s ich a lle in
fa l ten.
FALTH INW E ISE
3 . D ie K niffe fta ch diu ck en L in d w ie de r
o f f nen .
4. D en S ocke l fa lten und an d ie senk-
re ch te W a n d k le be n.
5 . D en vo rderen T eil fa lte n und au f em
e ig en s z ug es ch nitte ne s R e ch te ek a u f-
k leben (10 x 12 ,7 em ).
6 . D as R ech te ck am FuB des T urm es
ank leben .
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4 6 I V O R L A G E N
1 . I n t a r s i a *
* l e
** m
*** s c
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V O R L A G E N
2 . Ube r Kreuz *
"""-,""""
" " " -,
-,
" " "
////
""-,
"
/ // // /
/ /
"" ""
///
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4 8 I V O R L A G E N
3 . D ie E nts te hu ng d es B og en s *
D ie S ch nittk an te d es P ap ie rs h is z ur H ilfs -
lin ie s ch ie be n u nd b eid e P a pie rs ch ic hte n
a u fe in an de rk le be n (s ie he G ru nd fa ltu llg 4
u n d b e ilie g en d e U b u ng s ka rt e) .
---_-- -- -------------------- - _
......
. .....
.. .
. .....
...
...
...
.... _ _
...
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...
.~-.-.,-.-.- --------_----- ---------- ------'~.- -.-~-.-
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4 . P fo rte in der W and*
S ie he G ru nd fa ltu ng 6 u nd A nle itu ng a uf
Seit e 45.
1--
--
VORLAGEN 1 4 9
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5 0 I V O R L A G E N
5 . M e e re st re p pe *
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6. Po l yphon i e
im K u b u s *
S ie he A nle itu ng a uf S eite 4 4.
r
VORLAGEN
----- ---------~--------------,
---------------~--------------~
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5 2 I V O R L A G E N
I
I
--------...-..-..-. - .. _ ...---------
7 . B lo c k
E i n s c h n i
Z ue rs t d en
H a u p tw u rf e
dann na ch
den R e s t ,
Mode l l N r .
ben .
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V O R L A G E N
8 . Divergenz **
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5 4 I V O R L A G E N
9. A u sw eg au s demLabyr in th **
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V O R L A G E N
10 . V ie re ck m it fu nf S e ite n **
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1 1. D o pp elte Hoh l u n g ** Z un ac hs t d ie T a lfa ltu ng en a rb eite n L in d s o
a ile H a lb kre is e h eru nte rd ru ck en , d a nn
w ie de r z ur S e nkre ch te n a ufr ic hte n u nd
d ie B erg fa ltu ng en a us fu hre n. D ab ei d ie
G ru nd fla ch e b is z ur H ilfs lin ie d re h en
(s ie he G ru nd fa ltu ng 5 ).
5 6 I V O R L A G E N
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1 2. F os siles S ch if f **
- - [ ] - -
V O R L A G E N 1 5
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VORLAGEN
I
II I
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I I I
/ / I
f I
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1 4 . E in e B IO t e wachs t **D as M od ell se tz t s ich a us dret Gruppen
vo n E in schn itle n zu sa mm en . Je de G ru p-
p e e in ze ln fa lte n u nd w ie de r o tfn en ,
S ch lie blic h a lle s zu sa m m en n oc h e in m al
fa lte n un d d as M od ell a us fo rm en (s ie he
G ru nd fa ltu ng 3 )
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60 I VORLAGEN
D ie K urven rnodeliie ren , indem m an die
G ru nd fla ch e b is z ur H ilts lin ie d re ht (s ie he
Grundfa l tung 5 ). E tw as K le bs to ff a uf d ie
g ra u m a rkierte n S te lle n g eb en u nd s re au f
d er G ru nd fla ch e fe stk le be n. E s e m pfie hlt
s ich , da s ga nze M ode ll a uf fes ten Ka rtan
z u k le be n.
1 5. U rs p ru n g **L eic hte re s P a pie r v erw e nd en
(e tw a 16 0 g lm 2 ) .
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VORLAGEN
16 . K r is t a ll is i erendes
Papie r ***
- - l ~ ~ · - · ~ ~-- --_--
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6 2 1 V O R L A G E N
- - - - - - - - - - - - - - - ' I ~ ~-- -- -- - - - -- -- -- -- - - - - - - - - - - - - - -
1 7 . K o n v
a u f d e n
T r e p p e n
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18 . G le ich la uf d er R ud er ***
, -,"- -, "-
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/ ; / / / / / / /
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V O R L A G E N
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6 4 / V O R L A G E N
19..WindmeBbuch *** W en n a ile K nrffe le ich t m a rk ie rt s in d, vom
M itte lp un kt a u sg eh en d d ie H a lb kre is e
e rnen nach dem ande ren und a ile in de r
g le ic he n R ic htu ng d re he n.
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V O R L A G E N
2 0 . In den W ellen ***
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6 6 I VORLAGEN
2 l. A uBen s ke le tt ***
Z ue rs t d ie lin ke S eite fa lte n, d an n ca s
M ode ll w iede r um drehen und d ie andere
S eite fa lte n (s ie he G ru nd fa ltu ng 6 un d
A nle itu ng zu M ode ll N r. 4).
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2 2 . S te ig eru n g ***
Je de n T eil e in ze ln fa lte n u nd w ie de r o ff-
n en . D an n d ie S ch nittk an te b is z ur H ilfs li-
n ie s ch ie be n u nd b eid e P ap ie rs ch ic hte ll
a ufe in an de rk le be n ( sie he G ru nd fa ltu ng 4
und O bung N r. 8 ),
VORLAGEN
~ - [ [ " " , ,., , , ]]-~
. , - 1 "- - - - - - - - - - - - - I ~ I " . ' I ~ - -' ..'" .. ..
: : " I ~ I, - - - - - - - - - - - - - - - - - - - - - - - + + , : , '- .. .. -
- I " I -. . . . . , , . , . . , , : - ' 1 - - - 1 : - ' , , ,- -
- -
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6 8 I V O R L A G E N
2 3. S ch a ch sp ie l *
J ed e F ig ur z we im a l e nfe rtig en u nd je we ils
d ie s e nk re ch te n W a n de a n ein a nd er kle -
b en . F O r L au fe r u nd S prin ge r m u B je we ils
e in e d e r b e id en F ig u re n s eite nv e rk eh rt
g efa lte t w erden , indem m an B erg - undT a lf a lt un g e n v e rt au s ch t.
C- - A - j -\ .
-- --
Baue r
..n..
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- - - - - I ~ ·: ' : ~ I - - - - --------
Tu rmau fe r
j- -\- --------- --
•••••• __ _ I •••
-------------
Spr inge r
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2 4. F IO ch tig er S te rn *
D en e rs te n (a ub ers ten ) S te rn in d ie H and
nehm en , den R es t ru nd um den zen tra le n
K niff d re he n u nd v olls ta nd ig fa lte n. D a nn
d en e rs te n u nd z we ite n S te rn fe sth alte n,
d en R es t d re he n u nd fa lte n. S o fo rtfa hre nb is z um M itte ls te rn . W ie de r o ffn en u nd
d as M o de ll a us fo rm e n.
25 . E in Ka f i g vo lle r S te rn e **D as M od ell s etz t s ich a us fO nf G rup pen
vo n E ins chn itten zu sa m men . J ed e G rup -
p e e in ze ln fa lte n u nd w ie de r o ffn en .
S ch lie Blic h d as g an ze M o de ll z us am m e n-
se tz en un d a n d en b eld en a ube rs ten
Re c h te c k en v e rk le b e n.
VORLAGEN
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------~--~~-----------------------
7 0 I V O R L A G E N
2 6 . E s ch er -T re pp en **J ed e T re pp e e in ig e M a le v olls ta n dig fa lte n
u nd w ie de r o ffn en . Z um S ch lu B a lle s
zusa mm en noch e inm a l fa lten und da s
M o de ll a us fo rm e n (s ie he G ru nd fa ltu ng 3 ),
• I
,------;-: :I
I
I
II
II
I
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V O R L A G E N
27 . Ka th edra le von B ras ilia
(Bras i l ien ) *
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7 2 I V O R L A G E N
2 8 , B ra nd en bu rg er T o r, B e rlin
(Deu t s ch l and ) **
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VORLAGEN
2 9 . Sch ie fer T urm , P is a
( I ta l ien) **
A n d er S te lle , a n de r d ie L in ie n u nte rb ro -
chen s ind , rnub d ie Ze ichnung urn
1 2,7 e m ve rla ng ert w erd en . Z us atz lich e in
R ech teek a us K arton m it den M aB en
10 x 12 ,7 e m a ls C ru nd fla ch e sch ne ide n.
8 eim A usseh ne ide n m it de n F en ste rn
b eg in ne n. H in we ise fU r d ie F altu ng s ie he
S e ite 4 5:
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74 VORLAGEN
3D , S a n G im ig na no( I ta l ien) ***
L eic hte re s P a pie r v erw e nd en
(etw a 16 0 g /m2 ) .
• l \:
--I \
~ ~~--=~~--------,
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V O R L A G E N
, ",:, "-,--,',
,'_ . _ _ .,
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-,-- '
3 1. N e u e S ta a ts ga le rie ,
S t u ttg a rt ( D e u ts c h la n d )
l.e ic hte re s P a pie r v erw e nd en
(etwa 160 g/ rn-).
**
I 'I :
1 '
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76 UMSETZUNG VON KUNSTW ERKEN
Umse t zung
v on K un s tw erk en
fu r C utte run d P ap ier
32. K o n k a v - K o n v e x
In sp ir ie rt v om W e rk V ic to r V a sa re ly s,
e in e s K L in s tle rs u n g ar is ch e r A b s la mm u n g
(* 1 90 8), d er in d en d re ib ig er Ja hre n
b eg an n, a uf d em G eb ie t d el' G ra fik , d er
O p A rt un d de r K in etis chen K uns t zu
a rb eite n. B eze ich ne nd fU r d ie O p A rt is t
e s, R au m lich ke it a uf e in er e be ne n L ein -
w a nd v orz uta us ch en . D ie h ie r g ez
A rb e it g e ht V O I l e in er Z eic hn un g a
d er d ie V erfo rm un g e in es F eld es v
P a ra lle le n k on ka ve o de r k on ve xe K
m u ng en v orta us ch t. S ie u be rtra gt
E ln dru ck , d er ie n ach B lic kw in ke lse ll, in d ie d ritte D im en sio n: d en
d ru ck , a us ge fu llte r R a uill u nd V ak
s eie n g a nz u nb es tim m t .
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33 . B arocker P ark
D ie Idee fL lr d ie ses W erk en ts ta nd a us der
G ruppe vo n P au l K lee s A rbe iten uber d ie
M us ik , sp ez ie ll a us » Fe lse nb ild : vo n 1 934
un d »F uge in R ot« vo n 192 1, E s fo lg t d em
fo rm a le n M u ste r e in er m u sik alis ch en
F ug e. d ie s .c h in v ie r H au pts tim m en g lie -
dert, von denen jede na ch den typ isch en
M eth od en d es K an on s p olyp ho n a usg ea r-
b eite t is t, a ls o T he rn a, U m ke hru ng ,
K re bs ga ng , U m ke hru ng d es K re bs ga ng s,
Augmenta t i on usw .
34 . Esche r -P romenade
D er h olla nd isch e K un stie r M ,C , E sch er
(18 98 -19 72 ) is t vo r a lle m b eru hrn t d afu r,in W ahrhe it » unm bg liche« R aum e per-
s pe ktiv is ch d arg es te llt z u h ab en . D ie se s
W erk g eh t a uf d ie Z eich nu ng » Re la tiv ite «
von 1953 zuruck . W le m an s ieh t, is t d ie
K on stru ktlo n n ic ht v bllig u nrn og lic h, a be r
d ie Z eich nu ng sp ie lt m it d em d op pe ld eu ti-
g en V erh altn is zw isch en d en T re pp en u nd
d er S e nk re ch te n, d ie s le te stle ge n.
U M$ ET ZU NG V ON K UN S TW E RK EN
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7 8 1 U MS ET ZU NG VO N K UN ST WE RK EN
3 5. N eo pla stiz is tis ch er W i n ke l
1m z we id im e ns io na le n, w eiB en R au m d es
B ild es z ie ht d er h olla nd isc he M ale r P ie t
M o nd ria n (1 87 2-1 94 4) b re ite , s ch wa rz e,
r ec htw in klig a n ge or dn ete l.ln le n, E in lg e
d er s o d efin ie rte n R ech te ck e fu llt e r m it
G ru nd fa rb en a us , zw isc he n d en en e in e
a us ge w og en e S pa nn un g e nts te ht. S te lle n
w ir uns vo r, w ir lieB en e ine se iche K om po-
s ltio n e xp lo die re n: S o w u rd en d ie fa rb ig en
R ec hte cke im d re id im e ns io na le n R au m
verteilt .
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E in ig e Be isp ie le
fu r d i e
A n w e n d u n gin der W erbung
E ntw urf fu r e inen K alende r m it de r L ilie ,
d em W appen de r S ta dt F lo renz
V is ite nk arte m it d er F lo re ntin er L ilie
W ERBUNG
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80 I WERBUNG
G lu ck wu nsc hk arte fu r d ie F irm
, Im m ag ine , he rgeste llt von de r
P in eid er a us F lo re nz
S c ha u fe n ste r-W e rb e ta fe l u n d
w un sc hk arte , a ng ete rtig t fu r d
._____~~~~_~~~___ ta br ik F ab ria no
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Fasz in ie rendes splet m it L ic h t , schotten und Raum
Geom,etrische Figluren. Papierarchitektur. dretotmenstonote
Pop~up~Karten. Schachfiguren. SChiefer Turm von Pilsa ...
P'hanta!stische Papierarbeiten zum Nachmachen ..
Sch ritt ~fOr ~Sch ritt ~,~ntertu ngen
und sofort Obertragbare Plane
[ S BN 3 - 80 4 ]- 02 3 6- X
2480-