Guide · site 183 · wave 8, Form

One parameter, one hundred and seventeen facets.

MIURA gives the Miura-ori — the crease pattern that deploys satellite solar arrays and folds a map you can open one-handed — a live body in pure CSS 3D. No WebGL, no canvas, no images: every parallelogram is a div, and every one of them is enslaved to a single fold angle θ.

01Concept

A fictional exhibit page for the fold itself — audience: anyone who has fought a road map, plus the engineers who put this crease into orbit. The page has a single job: show that a Miura sheet has exactly one way to move. A full sheet gathers into a dense packet and relaxes flat again in one continuous breath, while a telemetry readout reports fold angle, footprint and ridge height, and a hint invites you to press and hold to hurry it.

02Palette

Night-orbit indigo

#1A2030

The ground. Deep enough that a paper sheet reads as the only lit object — the vacuum the Space Flyer Unit deployed into.

Washi facet

#EFE7D6

The paper. Warm handmade-sheet cream for lit facets; the shading ramp descends from it toward indigo shadow.

Crease vermilion

#C4472F

Lines and marks only — mountain creases, the pull-corner markers, the fold progress bar. Never body text; it fails contrast on indigo.

Moon-ink

#D8DCE6

Body ink. A cool moonlit grey-blue that clears 4.5:1 on the indigo ground where vermilion cannot.

A dimmed moon-ink at 68% alpha handles labels and captions; hairlines sit at 14% so the telemetry rows whisper instead of gridding the page.

03Type

Display — Shippori Mincho 500–700

MIURA — 三浦折り

A Japanese Mincho for a Japanese fold: high-contrast strokes with the crispness of a printed chart. The wordmark's letter-spacing is live — it tightens from .155em to .04em as the sheet gathers, so even the type folds.

Labels & body — Zen Kaku Gothic New 400–700

Fold θ 63.3° · footprint 47% · one degree of freedom

A quiet Japanese gothic for telemetry and prose — tabular numerals in the readout, wide-tracked uppercase for instrument labels, sentence case for the notes.

04Technique — the fold math

The signature element is honest rigid-origami kinematics, not an approximation. The Schenk–Guest closed form gives the whole sheet from one angle θ and the parallelogram skew γ = 63°:

H = a·sinθ·sinγ    S = b·cosθ·tanγ / r    L = a·√(1 − sin²θ·sin²γ)    V = b / r
where r = √(1 + cos²θ·tan²γ)

Each facet is one absolutely-positioned div given a hand-built matrix3d: the first two columns are the facet's in-plane basis vectors (u along the fold direction picking up ±H in z, v along the zigzag picking up ±V in x), the translation column places its corner vertex, and column parities flip the signs — so all 117 facets are four orientation classes stamped across the grid. Shading never guesses: the four class normals are rotated into view space and lit by a warm key over a cool indigo fill, and the resulting colours drive four CSS custom properties per frame. Crease borders tint by fold direction — vermilion mountains, indigo valleys — and deepen with sin0.8θ as the packet gathers.

Because the geometry is closed-form, rigidity is testable: a verification hook re-derives every facet's four vertices at any θ and asserts all edge lengths still equal a and b. Across the full fold cycle the worst edge error is ~10−13px — nothing bends, nothing tears, no facet ever fights another for the same plane.

Everything else is discipline: a breathing cycle eased through an asymmetric cosine (gathering takes 55% of the period, opening 45% — paper resists being packed), a ground shadow that spreads and fades as the footprint grows, and a hold-to-pull interaction that runs time at 3.2× while the pointer is down.

05Iteration log

Pass 1 / Craft

  • Rebuilt the readout as hairline rows with tabular numerals — the first draft's boxed panel read as a debug overlay, not an instrument.
  • Demoted vermilion to lines and marks only after it failed contrast as label text on indigo; minted moon-ink for type instead.
  • Added the vertical 三浦折り kanji rule beside the wordmark and rewrote the three notes around concrete dates — Tokyo 1970, orbit 1995 — instead of generic origami copy.

Pass 2 / Depth

  • Warmed the facet shading: a mid-tone warmth term lifts lit paper toward lamplit washi while shadows keep the night's indigo — the sheet stopped reading as concrete grey.
  • Made the breath asymmetric (55/45 gather/open) and coupled the wordmark's letter-spacing to the fold, so the type packs with the paper.
  • Added the two vermilion pull-corner markers at the opposite corners Miura tells you to pull, and the press-and-hold interaction that hurries the fold.

Pass 3 / Hardening

  • 375px: facet grid drops to 8×6 (48 facets), the readout re-flows to a two-column strip across the bottom, and the hint panel is cut entirely (Chanel rule).
  • Reduced motion settles the sheet at 58% fold — mid-deployment, obliquely lit, state HELD — instead of animating; the media-change listener flips live.
  • Hidden tabs freeze the fold clock so returning never jump-cuts; resize rebuilds the grid at the same phase; verified zero console errors and edge-length rigidity headlessly at 1440 and 375.