The Mayflower 400 - A Historic Sailing Ship Papercraft Model by Mayflower Museum

This beautiful papercraft recreates the Mayflower, one of the most famous ships in history and, interestingly, a vessel that was never originally intended to carry passengers across the Atlantic. Before its famous voyage in 1620, the Mayflower was essentially an English merchant ship, used for European trade and for transporting goods such as wine and textiles.

The papercraft presents the ship in a simple and charming way, with its colorful hull, different deck levels, masts, flags, and large curved sails that give the finished model a particularly attractive appearance. The base representing the sea nicely completes the little scene, turning the model into a display piece as soon as the assembly is finished.

The real Mayflower made history in 1620, when it carried 102 passengers, along with its crew, from England to North America. The successful Atlantic crossing began in Plymouth, England, on September 6, 1620, after two earlier attempts had been interrupted by problems with the Speedwell, the second ship that was supposed to accompany the expedition.

The crossing took 66 days, and conditions aboard were far removed from the romantic image sometimes associated with old sailing ships. Passengers spent most of their time on the lower deck, originally intended for cargo, in dark, damp, cold quarters with very low ceilings. Imagine 102 men, women, and children sharing those cramped spaces with their belongings for more than two months at sea.

One remarkable detail is that a baby was born during the crossing. Elizabeth Hopkins gave birth to a boy who received a very appropriate name: Oceanus Hopkins. Despite storms, illness, and the extremely difficult conditions, only one of the original 102 passengers died during the Atlantic crossing itself. The following months were far more tragic, as approximately half of the settlers died during their first winter in New England.

Another interesting detail is that the Mayflower carried a smaller boat, called a shallop, measuring approximately 30 feet (9 meters) in length. It was dismantled and stowed aboard the ship for the Atlantic crossing, then reassembled and used by the colonists to explore the coast of New England.

After leaving its passengers in America, the Mayflower returned to England in 1621. And here comes perhaps one of the most intriguing details of its history: nobody knows for certain what happened to the original ship. One of its last known records is a valuation made in 1624. After that, the Mayflower essentially disappears from maritime records. Over the centuries, stories have circulated about English buildings supposedly constructed using timber from the vessel, but there is no conclusive historical evidence supporting these claims.

Today, there is the Mayflower II, a full-size reproduction built in England between 1955 and 1957. It crossed the Atlantic in 1957 with a crew of 33 men and reached Plymouth, Massachusetts, after a voyage of approximately 3,500 nautical miles. Now preserved by Plimoth Patuxet Museums, the vessel remains seaworthy and serves as a floating museum, offering visitors a much clearer idea of just how small a ship could be while carrying more than a hundred people across the Atlantic over four centuries ago.

I think this papercraft does a very good job of representing such a historic vessel without making the assembly unnecessarily complicated. It is also a lovely project for anyone interested in maritime history, early ocean voyages, and traditional sailing ships.

A small paper model telling a story that crossed the Atlantic more than 400 years ago.

Este belo modelo de papel recria o Mayflower, um dos navios mais conhecidos da história e uma embarcação que, curiosamente, não foi originalmente construída para transportar passageiros através do Atlântico. Antes de sua famosa viagem de 1620, o Mayflower era essencialmente um navio mercante inglês, utilizado no comércio europeu e no transporte de mercadorias como vinho e tecidos.

O papercraft apresenta o navio de uma maneira simples e bastante charmosa, com seu casco colorido, os diferentes níveis do convés, mastros, bandeiras e grandes velas curvas que dão ao modelo uma aparência especialmente interessante quando montado. A base representando o mar completa muito bem a pequena cena e transforma o modelo em uma peça que pode ser exposta assim que a montagem estiver terminada.

O verdadeiro Mayflower entrou para a história em 1620, quando transportou 102 passageiros, além da tripulação, da Inglaterra para a América do Norte. A travessia do Atlântico começou em Plymouth, Inglaterra, em 6 de setembro de 1620, depois de duas tentativas anteriores terem sido interrompidas por problemas com o Speedwell, o segundo navio que deveria acompanhar a expedição.

A travessia levou 66 dias, e as condições a bordo estavam muito longe da imagem romântica que às vezes associamos aos antigos veleiros. Os passageiros passaram a maior parte do tempo no convés inferior, originalmente destinado à carga, em espaços escuros, úmidos, frios e com teto muito baixo. Imagine 102 homens, mulheres e crianças dividindo esses espaços apertados com seus pertences durante mais de dois meses no Atlântico.

Um detalhe incrível é que um bebê nasceu durante a travessia. Elizabeth Hopkins deu à luz um menino que recebeu um nome bastante apropriado: Oceanus Hopkins. Apesar das tempestades, doenças e condições extremamente difíceis, apenas um dos 102 passageiros originais morreu durante a travessia propriamente dita. Os meses seguintes seriam muito mais trágicos, pois aproximadamente metade dos colonos morreu durante o primeiro inverno na Nova Inglaterra.

Outro detalhe curioso é que o Mayflower transportava um barco menor, chamado shallop, com cerca de nove metros de comprimento. Ele foi desmontado e acondicionado a bordo do navio durante a travessia do Atlântico, sendo posteriormente remontado e utilizado pelos colonos para explorar a costa da Nova Inglaterra.

Depois de deixar seus passageiros na América, o Mayflower retornou à Inglaterra em 1621. E aqui aparece talvez uma das curiosidades mais interessantes de toda a história: ninguém sabe com certeza o que aconteceu com o navio original. Um de seus últimos registros conhecidos é uma avaliação de seu valor feita em 1624. Depois disso, o Mayflower praticamente desaparece dos registros marítimos. Ao longo dos séculos surgiram histórias de construções inglesas que supostamente teriam utilizado madeira retirada do navio, mas não existe comprovação histórica conclusiva para essas alegações.

Hoje existe o Mayflower II, uma reprodução em tamanho real construída na Inglaterra entre 1955 e 1957. Ela atravessou o Atlântico em 1957 com uma tripulação de 33 homens e chegou a Plymouth, Massachusetts, depois de uma viagem de aproximadamente 3.500 milhas náuticas. Atualmente preservada pelo Plimoth Patuxet Museums, a embarcação continua navegável e funciona como uma espécie de museu flutuante, permitindo ter uma ideia muito mais concreta de quão pequeno era um navio que carregou mais de uma centena de pessoas através do Atlântico há mais de quatro séculos.

Acho que esse papercraft consegue representar muito bem essa embarcação histórica sem transformar a montagem em algo excessivamente complicado. É também um ótimo projeto para quem gosta de história marítima, antigas viagens oceânicas e modelos de veleiros tradicionais.

Um pequeno modelo de papel para contar uma história que atravessou o Atlântico há mais de 400 anos.

If you would like to build your own miniature Mayflower, you will find the templates to download at the link below.

The Mayflower 400 - A Historic Sailing Ship Papercraft Model - by Mayflower Museum

If you enjoy historic sailing ships, take a look at these four other papercraft models previously featured here at Papermau:

Below you will find four more papercrafts of historic sailing ships and galleons, already featured here at Papermau:

01: San Salvador Galleon Papercraft - Two Amazing Versions - by Roman Detyna & Robert Nava

02: Papercraft Pop-Up Galleon - A Classic In Paper Engineering - by Roger Pattenden

03: Spanish Galleon San Francisco Paper Model - by Shukuka1014

04: Lougre De Peche - Fishing Sailboat - A Belgian Vintage Paper Model - by Marabout Junior

Three Traditional Japanese Tatebankos & A Decorative Gift Box by Mizuta Museum of Art

Long before the emergence of modern papercrafts, the Japanese were already exploring ingenious ways of transforming printed illustrations into small three-dimensional scenes. One of these techniques is known as tatebanko, a traditional form of paper art that makes it possible to recreate landscapes, buildings, characters and scenes from everyday life using printed pieces that are cut out, folded and arranged in different layers.

The Mizuta Museum of Art, at Josai University in Japan, offers a small collection of four projects inspired by this artistic tradition. There are three tatebankos, one with an open setting and two presented as shadow boxes, as well as a small decorative box featuring old Japanese prints.

Tatebanko became popular during the Edo period (1603–1868), when Japanese prints known as ukiyo-e circulated widely among the population. Usually produced using woodblock printing techniques, these works depicted landscapes, Kabuki theater actors, famous places, historical scenes and aspects of everyday life.

The technique consists of cutting, folding and assembling printed elements on a base or inside a small box, arranging the figures in different layers to create an illusion of depth. In this way, an originally two-dimensional image can be transformed into a small three-dimensional diorama.

The first model in the collection is an open tatebanko based on a print by Utagawa Kunisada III, dated 1894, during the Meiji period (1868–1912). The composition features characters and scenic elements related to the world of Kabuki theater, creating a colorful and lively scene.

The next two models can also be considered tatebankos, but they use a shadow-box format. Both are inspired by prints by Utagawa Hiroshige, one of the great masters of ukiyo-e. The first depicts a landscape associated with Sannō Shrine and is based on a work produced approximately between 1830 and 1844. The second depicts the Kasumigaseki area in Edo, present-day Tokyo, and is based on a print from 1853.

In these two projects, the elements are arranged in layers inside a structure resembling a small box, creating an interesting sense of perspective when viewed from the front. It is a simple and ingenious solution that recalls both traditional paper theaters and modern miniature dioramas.

The fourth project is a little different. It is a small decorative box inspired by Suzuki Harunobu's Six Tama Rivers series of prints, produced around 1767. Unlike the tatebankos, this model has a more practical purpose and can be used as packaging for small gifts. According to the museum, the box can be assembled without glue and, when printed on A3 paper, is large enough to hold postcards.

It is interesting to see how these four projects bring together works originally created during the 18th and 19th centuries, covering different periods in the history of Japanese art. More than simple paper models, they offer a way to preserve and rediscover old artistic techniques while bringing them closer to the modern world of papercraft.

The four models are available for free on the official Mizuta Museum of Art website, with printable templates and assembly instructions.

Muito antes do surgimento dos modernos papercrafts, os japoneses já exploravam maneiras engenhosas de transformar gravuras impressas em pequenas cenas tridimensionais. Uma dessas técnicas é conhecida como tatebanko, uma forma tradicional de arte em papel que permite recriar paisagens, construções, personagens e cenas do cotidiano utilizando figuras recortadas, dobradas e montadas em diferentes planos.

O Museu de Arte Mizuta, da Universidade Josai, no Japão, disponibiliza gratuitamente uma pequena coleção de quatro projetos inspirados nessa tradição artística. São três tatebankos, sendo um com cenário aberto e dois no formato de caixas de sombras (shadow boxes), além de uma pequena caixa decorativa com estampas japonesas antigas.

O tatebanko tornou-se popular durante o período Edo (1603–1868), quando as gravuras japonesas conhecidas como ukiyo-e circulavam amplamente entre a população. Essas gravuras, geralmente produzidas por meio da impressão em blocos de madeira, retratavam paisagens, atores do teatro Kabuki, lugares famosos, cenas históricas e aspectos da vida cotidiana.

A técnica consiste em recortar, dobrar e montar elementos impressos sobre uma base ou dentro de uma pequena caixa, distribuindo as figuras em diferentes planos para criar a ilusão de profundidade. Dessa maneira, uma imagem originalmente bidimensional pode se transformar em um pequeno diorama tridimensional.

O primeiro modelo da coleção é um tatebanko aberto, baseado em uma gravura de Utagawa Kunisada III, datada de 1894, durante o período Meiji (1868–1912). A composição apresenta personagens e elementos cenográficos ligados ao universo do teatro Kabuki, formando uma cena bastante colorida e movimentada.

Os dois modelos seguintes também podem ser considerados tatebankos, mas utilizam o formato de caixas de sombras. Ambos são inspirados em gravuras de Utagawa Hiroshige, um dos grandes mestres do ukiyo-e. O primeiro representa uma paisagem associada ao Santuário Sannō, baseada em uma obra produzida aproximadamente entre 1830 e 1844. O segundo retrata a região de Kasumigaseki, em Edo, atual Tóquio, a partir de uma gravura de 1853.

Nesses dois projetos, os elementos são organizados em camadas dentro de uma estrutura semelhante a uma pequena caixa, criando uma interessante sensação de perspectiva quando observados de frente. É uma solução simples e engenhosa que lembra tanto os tradicionais teatros de papel quanto os modernos dioramas em miniatura.

O quarto projeto é um pouco diferente. Trata-se de uma pequena caixa decorativa inspirada na série de gravuras Seis Rios Tama, de Suzuki Harunobu, produzida por volta de 1767. Diferentemente dos tatebankos, esse modelo tem uma finalidade mais prática e pode ser utilizado como embalagem para pequenos presentes. Segundo o museu, a caixa pode ser montada sem cola e, quando impressa em papel A3, fica grande o suficiente para acomodar cartões-postais.

É interessante observar como esses quatro projetos reúnem obras originalmente produzidas entre os séculos XVIII e XIX, atravessando diferentes momentos da história da arte japonesa. Mais do que simples modelos de papel, eles representam uma maneira de preservar e redescobrir antigas técnicas artísticas, aproximando-as do universo dos papercrafts modernos.

Os quatro modelos estão disponíveis gratuitamente na página oficial do Museu de Arte Mizuta, com arquivos para impressão e montagem.

Explore these beautiful traditional Japanese paper artworks and download the templates from the Mizuta Museum of Art at the link below:

Three Traditional Japanese Tatebankos & A Decorative Gift Box - by Mizuta Museum of Art

If you enjoyed these traditional Japanese paper artworks, take a look at the related papercraft projects below.

01 - Stube In Nordfriesland - A Tatebanko Vintage Paper Model - by Kaukapedia - via Casita De Papel

02 - A Railway Scene - Japanese Tatebanko Paper Model - by Microsoft

03 - Vincent Van Gogh's Starry Night In Tatebanko Version - by Papermau

04 - The Lost Van Gogh Tatebanko - A Papercraft Project For Kids - by Storm The Castle

Nürburgring Zeitnehmerhaus 1950 - 1/64 Scale Papercraft by Henning Möller - via Carrera4Fun

This beautiful paper model reproduces the Zeitnehmerhaus, or Timekeeper's House, from the legendary Nürburgring circuit in Germany, as it appeared in 1950.

Created by Henning Möller and available on the Carrera4Fun website, the model is in 1/64 scale, making it especially interesting for die-cast car collectors and for creating historical motorsport dioramas.

For decades, the Zeitnehmerhaus was one of Nürburgring's most characteristic buildings. Located near the start and finish area, it witnessed a large part of the circuit's history and had its appearance modified several times over the years.

Henning chose to reproduce the building as it appeared in 1950. In this configuration, the upper cabin with its characteristic roof was already present, as was the Mercedes star, while some of the extensions that would become part of its appearance in later years had not yet been built.

The model takes up nine sheets, including two intended for cardboard reinforcement. The Carrera4Fun page also provides assembly instructions and an exploded-view drawing to help with construction.

Despite the amount of graphic detail, Henning tried to keep the model accessible to build. From the beginning, the idea was to find a balance between simplicity and authenticity, something that, as you will see below, is directly related to the way he approaches modeling.

When Henning told me that the Zeitnehmerhaus was finally available, he also kindly sent me a text telling a little of the story behind this model.

His account ended up going far beyond the Zeitnehmerhaus itself. Henning told me a little about his history as a modeler, his passion for motorsport, how he met Frank Rehberg of Carrera4Fun, and how that friendship eventually led to a rather ambitious project related to the Nürburgring centenary, which will be celebrated in 2027.

Henning kindly allowed me to share his account here on Papermau. I made only a few small adaptations to the text so that it would flow more naturally within this post, without changing the essence of what he wrote so generously and spontaneously.

In the words of Henning Möller:

My interest in building things goes back to my childhood. LEGO, model kits, or even pieces handmade from wood with a coping saw, over the years I have built a little bit of everything.

My greatest hobby has always been model railroading. On my first layout, I even included a Faller AMS track, and both slot cars and that scale never completely left me. Later I moved from HO scale to N scale, but my second great passion, Formula 1 in particular and motorsport in general, eventually brought me back to slot cars when I reached the age of 50.

At first I returned to HO scale, or more precisely 1/64 scale, and later to Carrera Evolution in 1/32 scale.

But simply laying a track on the carpet seemed a little boring to me. For me, there had to be some atmosphere around it.

The problem is that suitable buildings and accessories are not exactly plentiful, and I also did not want to spend hundreds of euros just to place a few structures around the track.

That was how I began finding various websites dedicated to papercraft on the internet. During one of those searches, I came across Frank Rehberg's website, Carrera4Fun.

I immediately built the Dunlop Tower, followed by the Conti Tower, the pit lane and the gas station. Those buildings had a special charm, and before long I had caught the Nürburgring fever.

But the Zeitnehmerhaus was missing.

Together with the Dunlop Tower, the Shell gas station, the Conti Tower and the pit lane, the Timekeeper's House was certainly one of the most important structures at the Ring during the first seven decades after its opening in 1927.

On a motorsport website, I found a photograph of a model of this building, with Frank Rehberg credited as its creator. So I decided to contact him and ask whether he intended to make it available.

His reply came quickly and was unexpectedly positive. Frank offered to send me the PDF file of the model and asked only that I take photographs of the building process.

That was how a great friendship began.

A few years ago, after we completed the Schleizer Dreieck building for its centenary, Frank and I decided to turn our attention to the Nürburgring centenary.

The project grew to include new models still to be developed, updates to buildings that had already been released and, finally, the idea of recreating a complete pit area representing the first 70 years of the circuit.

After spending some time working with extremely detailed paper models in N scale, at the beginning of this year I decided to concentrate my work on 1/64 scale.

After the Dunlop Tower, it was time for the Zeitnehmerhaus.

I have always been fascinated by classic cars from the 1950s, so I decided to recreate the Nürburgring buildings as they appeared during that period. My goal is to develop models that are relatively easy to build but, at the same time, look as authentic as possible.

I also do not necessarily follow the idea that absolutely everything in a paper model has to be made of paper. Schreiber-Bogen itself, for example, offers photo-etched parts to complement some of its paper ship models. I also like combining papercraft with traditional modeling techniques whenever they can contribute to the final result.

And there is still much more to come.

Not all of the models that Frank and I intend to add to Carrera4Fun have been released yet. It is also important to remember that developing a convincing model is not easy when precise dimensions or original plans are not available.

This means analyzing hundreds of photographs, comparing details, correcting countless errors and building test models. The whole process takes a great deal of time, and for that reason it simply is not possible to present a new project every month.

I also do not use professional software or a high-performance computer. I work with LibreOffice Draw on a Mac Mini 2.

End of Henning's account.

That last observation from Henning particularly caught my attention because my own way of working is quite similar.

I have never used expensive professional programs to create my models either. Until last month, I was still working on an old computer from 2010 running Windows 7, which had been with me for many years. Only now have I moved to a machine running Windows 11.

And I still use simple, free and intuitive tools. Among them are the good old MS Paint, Paint.NET, an old version of SketchUp, version 6, and also a free version of Pepakura.

Perhaps our experiences are a good demonstration that you do not need the newest computer or the most sophisticated software to create something interesting. The tools help, of course, but knowing well what we have at our disposal, finding our own solutions and, above all, enjoying the creative process are still what matter most.

In the message he sent me, Henning ended with words that made me particularly happy. He said that Papermau is an almost daily source of inspiration for his next projects and joked that, because of this, his to-do list just keeps getting longer.

I can only thank Henning for those words, for his generosity in sharing a little of his story and, of course, for all the work and dedication he put into creating this model.

And the Zeitnehmerhaus 1950 is far from the end of this story. Henning and Frank still have other Nürburgring-related projects in development for the circuit's centenary in 2027.

From what Henning has already hinted at, we can expect some very interesting things to come from this partnership.

The Nürburgring Zeitnehmerhaus 1950 in 1/64 scale, together with the assembly instructions, is available at Carrera4Fun at the link below:

Nürburgring Zeitnehmerhaus 1950 - 1/64 Scale Papercraft - by Henning Möller

If you enjoy papercraft buildings created to display miniature cars and bring racing and automotive dioramas to life, take a look at the related models below.

01 - French Workshop Diorama Papercraft For Slot Cars And Miniatures - by Carrera4Fun

02 - Riverside Auto Works Garage Papercraft In 1/64 Scale - by Papermau

03 - Multi-Level Parking Garage Display Shelf Papercraft In 1/64 Scale - by Marco Antonio Checa Funcke

04 - Old Town Garage Papercraft In 1/64 Scale For Diecast Dioramas - by Papermau

Aos amigos de língua portuguesa: Para não deixar este post excessivamente longo, desta vez publiquei aqui a versão completa em inglês. O texto integral em português, acompanhado de todas as fotos, está disponível no meu blog secundário, The Papermau, no link abaixo:

Nürburgring Zeitnehmerhaus 1950 - Papercraft em Escala 1/64 - por Henning Möller - via Carrera4Fun

Outdoor Shooting Range Papercraft Diorama - Work in Progress

While I continue working on a few projects, an idea that started as a simple addition ended up growing and becoming practically a new papercraft model.

This is a small outdoor shooting range that I am creating completely from scratch. The original idea came up while I was working on the new version of the Ammu-Nation, as I wanted to add something to one side of the building and make the whole scene a little more interesting.

That is how I started imagining this shooting range.

Its dimensions were planned so that it can fit perfectly alongside the Ammu-Nation, but as I kept adding pieces and developing the scenery, I realized that it was becoming a model in its own right.

It is important to say that this shooting range does not exist in GTA V and is not based on any specific location from the game. I also did not try to faithfully reproduce a real shooting range. My main concern was to create a small diorama that would be visually interesting, easy to understand when assembled and, above all, fun to build and customize.

The scenery is divided into several clearly defined areas. At the front are the shooting positions, with three large wooden counters. On their tops are printed details representing firearms, ammunition, targets and other small pieces of equipment. This way I can suggest many different objects without turning the model into a collection of tiny and difficult-to-build parts.

I also created four different types of ammunition boxes, each with a different size, shape and markings. Since they are separate pieces, they can be scattered around the scenery, placed near the counters or stacked in different ways.

Just beyond the counters is the firing line, marked directly on the ground and reinforced by small barriers with warnings such as FIRING LINE and DO NOT CROSS.

From this point begins the open area separating the shooters from the targets. I deliberately kept this part relatively empty, using a dry dirt texture with small rocks, tire marks, sparse vegetation and danger warnings painted directly on the ground. This open space also helps create a greater sense of distance between the shooting positions and the targets.

At the far end are several different types of targets. There are traditional circular targets, silhouettes and small metal targets in different shapes. Some of the paper targets are attached to supports positioned over hay bales, adding a more improvised and rustic appearance to the scene.

Closing off the shooting range is a large earth-and-wood backstop. Besides providing a background for the target area, this piece visually defines the end of the scenery and helps give the whole diorama a greater sense of depth.

I also made small safety barricades, signs, sandbags, barriers and other accessories. Many of these pieces are independent, so there is no single correct way to arrange the scenery. Each modeler will be able to position them as desired, use only some of them or create a completely different arrangement from mine.

It was during this process that I realized that what was supposed to be just an addition to the Ammu-Nation had turned into a project of its own.

Although it can still fit perfectly alongside one of the sides of the store, it does not depend on the Ammu-Nation to work. It can be assembled on its own as a complete little shooting range or incorporated into practically any other diorama.

This also opens up another possibility that I find interesting: resizing the model.

Since I am not trying to represent a real location or a structure with a mandatory scale, the modeler will be able to resize it according to the project they have in mind. I can imagine it, for example, adapted for the classic Green Army Men figures of approximately 33 mm, or enlarged to accompany 3.75-inch action figures such as G.I. Joe and similar figures.

Naturally, the larger the chosen scale, the more space will be required to assemble the entire shooting range, but the relatively simple shapes of the structures and accessories should make this kind of adaptation quite easy.

The images illustrating this post were created using SketchUp 6, a 3D modeling program that I have been using for many years to develop and test my papercraft models. SketchUp makes it possible to build objects and scenes in three dimensions in a relatively simple way, apply the textures that will later be used on the paper models and, most importantly, check proportions, fittings and the arrangement of the parts before moving on to the real-world build.

In this case, I virtually assembled the entire shooting range to get a better idea of how the counters, ammunition boxes, barriers, targets and the large backstop at the far end would work together. The project is still under development, so some proportions, positions and graphic details may change before the final version.

For now, I am really enjoying the result. What started as a small idea to enrich the Ammu-Nation scenery has taken on a life of its own and become practically a new papercraft model.

Enquanto continuo trabalhando em alguns projetos, uma ideia que começou como um simples complemento acabou crescendo e se transformando praticamente em um novo modelo de papel.

Este é um pequeno campo de tiro a céu aberto que estou criando totalmente do zero. A ideia inicial surgiu enquanto eu trabalhava na nova versão da Ammu-Nation, pois queria acrescentar alguma coisa a uma das laterais do prédio e tornar o conjunto um pouco mais interessante.

Foi assim que comecei a imaginar este campo de tiro.

As dimensões foram pensadas para que ele possa ser encaixado perfeitamente ao lado da Ammu-Nation, mas, conforme fui acrescentando peças e desenvolvendo o cenário, percebi que ele estava se tornando um modelo por si só.

É importante dizer que este campo de tiro não existe em GTA V e não é baseado em nenhum lugar específico do jogo. Também não tentei reproduzir fielmente um campo de tiro real. Minha preocupação foi muito mais criar um pequeno diorama visualmente interessante, fácil de compreender quando montado e, principalmente, divertido de construir e personalizar.

O cenário é dividido em áreas bem definidas. Na parte da frente ficam as posições dos atiradores, com três grandes balcões de madeira. Sobre os tampos há detalhes impressos representando armas, munições, alvos e outros pequenos equipamentos. Dessa maneira consigo sugerir vários objetos sem transformar o modelo em uma coleção de peças minúsculas e difíceis de montar.

Também criei quatro tipos diferentes de caixas de munição, cada uma com tamanho, formato e inscrições diferentes. Como são peças independentes, elas podem ser espalhadas pelo cenário, colocadas próximas aos balcões ou empilhadas de várias maneiras.

Logo depois dos balcões fica a linha de tiro, marcada no próprio piso e reforçada por pequenas barreiras com avisos como FIRING LINE e DO NOT CROSS.

A partir desse ponto começa a área aberta que separa os atiradores dos alvos. Deixei essa parte propositalmente mais vazia, usando uma textura de terra seca com pequenas pedras, marcas de pneus, vegetação rasteira e inscrições de perigo pintadas diretamente no chão. Esse espaço vazio também ajuda a criar uma sensação maior de distância entre as posições dos atiradores e os alvos.

No fundo estão os diferentes tipos de alvos. Há alvos circulares tradicionais, silhuetas e pequenos alvos metálicos de diferentes formatos. Alguns dos alvos de papel ficam presos a suportes posicionados sobre fardos de feno, acrescentando um aspecto mais improvisado e rústico ao conjunto.

Fechando o campo de tiro há um grande anteparo feito de terra e madeira. Além de servir como fundo para a área dos alvos, essa peça delimita visualmente o cenário e ajuda bastante a dar profundidade ao diorama.

Também fiz pequenos cavaletes de segurança, placas, sacos de areia, barreiras e outros acessórios. Muitas dessas peças são independentes, portanto não existe uma única maneira correta de organizar o cenário. Cada modelista poderá posicioná-las como quiser, usar apenas algumas delas ou criar uma disposição completamente diferente da minha.

Foi justamente durante esse processo que percebi que aquilo que deveria ser apenas um complemento para a Ammu-Nation havia se transformado em um projeto próprio.

Embora continue sendo possível encaixá-lo perfeitamente em uma das laterais da loja, ele não depende dela para funcionar. Pode ser montado sozinho como um pequeno campo de tiro completo ou incorporado a praticamente qualquer outro diorama.

Isso também abre uma possibilidade que considero interessante: redimensionar o modelo.

Como não estou tentando representar um lugar real ou uma construção com uma escala obrigatória, o modelista poderá ajustar o tamanho de acordo com o projeto que tiver em mente. Posso imaginá-lo, por exemplo, adaptado para os clássicos Green Army Men de aproximadamente 33 mm ou ampliado para acompanhar figuras de ação de 3,75 polegadas, como G.I. Joe e similares.

Naturalmente, quanto maior a escala escolhida, maior será o espaço necessário para montar todo o campo de tiro, mas as formas relativamente simples das construções e dos acessórios devem facilitar bastante esse tipo de adaptação.

As imagens que ilustram este post foram criadas no SketchUp 6, programa de modelagem tridimensional que utilizo há muitos anos para desenvolver e testar meus modelos de papel. O SketchUp permite construir objetos e cenários em 3D de maneira relativamente simples, aplicar as texturas que depois serão usadas nos modelos de papel e, principalmente, visualizar proporções, encaixes e a disposição das peças antes de partir para a montagem real.

Neste caso, montei virtualmente todo o campo de tiro para ter uma ideia melhor de como os balcões, caixas de munição, barreiras, alvos e o grande anteparo ao fundo funcionariam juntos. O projeto ainda está em desenvolvimento, portanto algumas proporções, posições e detalhes gráficos poderão mudar até a versão definitiva.

Por enquanto, estou gostando bastante do resultado. O que começou como uma pequena ideia para enriquecer o cenário da Ammu-Nation acabou ganhando vida própria e se tornando praticamente um novo modelo de papel.

Fluttering Butterflies - A Beautiful Papercraft Automata - by Rob Ives via Brother Creative Center

This beautiful papercraft from Brother Creative Center is much more than a simple arrangement of paper butterflies. It is a small paper automaton that uses a clever mechanism to bring the butterflies to life.

The model depicts a decorative vase from which several green stems emerge, each supporting a different butterfly. The butterflies come in a variety of colors and patterns, making the whole arrangement quite attractive even when the mechanism is not being operated.

But the real surprise appears when the mechanism is put into action. By moving the piece at the bottom, the internal system transfers the movement through the stems, causing the butterflies' wings to open and close and creating the illusion that they are fluttering above the vase.

The illustrated instructions reveal some interesting details of this simple mechanism. The stems are assembled separately and incorporate small folded paper parts that transmit the movement, while the butterflies are attached in such a way that their wings remain free to move.

This mechanical simplicity is precisely what makes the project so interesting. There are no motors, batteries or electronic components involved, just paper, folds, glue and an ingenious mechanism capable of transforming a simple manual movement into a small group of fluttering butterflies.

Besides being a beautiful decorative piece, this model is also a great example of how simple mechanisms can be incorporated into papercraft, transforming an otherwise static model into something interactive and full of life.

The model comes with illustrated assembly instructions showing the construction of the stems, moving parts, butterflies and the vase that hides most of the mechanism. Once everything is assembled, the result is the charming moving arrangement shown in the photos.

Este belo papercraft disponibilizado pelo Brother Creative Center é muito mais do que um simples arranjo de borboletas de papel. Trata-se de um pequeno autômato de papel que utiliza um mecanismo engenhoso para dar vida às borboletas.

O modelo representa um vaso decorativo de onde surgem várias hastes verdes, cada uma sustentando uma borboleta diferente. As borboletas apresentam diversas cores e padrões, deixando o conjunto bastante bonito mesmo quando o mecanismo não está sendo acionado.

Mas a verdadeira surpresa aparece quando o mecanismo entra em ação. Ao movimentar a peça localizada na parte inferior, o sistema interno transmite o movimento através das hastes, fazendo com que as asas das borboletas se abram e se fechem e criando a impressão de que elas estão batendo as asas sobre o vaso.

As instruções ilustradas revelam alguns detalhes interessantes desse mecanismo simples. As hastes são montadas separadamente e incorporam pequenas peças dobradas de papel que transmitem o movimento, enquanto as borboletas são fixadas de maneira que suas asas permaneçam livres para se movimentar.

É justamente essa simplicidade mecânica que torna o projeto especialmente interessante. Não há motores, pilhas ou componentes eletrônicos envolvidos, apenas papel, dobras, cola e um mecanismo engenhoso capaz de transformar um simples movimento manual em um pequeno grupo de borboletas batendo as asas.

Além de ser um belo objeto decorativo, este modelo também é um ótimo exemplo de como mecanismos simples podem ser incorporados ao papercraft, transformando um modelo que normalmente seria estático em algo interativo e cheio de vida.

O modelo vem acompanhado de instruções ilustradas de montagem que mostram a construção das hastes, das partes móveis, das borboletas e do vaso que esconde boa parte do mecanismo. Depois de tudo montado, o resultado é o simpático arranjo móvel mostrado nas fotos.

If you would like to bring these colorful paper butterflies to life, you will find the templates and illustrated assembly instructions below.

Fluttering Butterflies - A Beautiful Papercraft Automata - by Rob Ives - via Brother Creative Center

If you enjoy papercrafts that come to life through clever paper mechanisms, take a look at these four other automata projects previously featured here at Papermau.

01: The Tortoise - A Mechanical Or Automata Papercraft - by Brother

02: The Birthday Flower Automata Papercraft - A Tribute to Peter Markey by Paper Pino

03: Gekko Japonicus - Japanese Gecko Automata Paper Model by JT Biohistory Research Hall

04: Guardians Of The Galaxy - Dancing Groot Automata Papercraft - by Richenna King