BOS Magazine 290

Contents 1 2 5 6 8 10 12 14 16 18 19 22 25 26 28 30 34 36 37 38 39 40 41

Cartoon Doghead Landmarks Review: Cut and Fold Techniques BOS at the NEC Hobbycraft Show Shades of Origami Going Walker-bout Rif Rif Bird The Paperfolder’s Life List.. Pelicano Review: Origami Home Paper Review #24 Leaf Beetle Nice to meet you Eifel Unit Ori-News Meet the Council Broken hearts Review: Drawing Origami vol. 1 Cover Story Letters Mini Meetings Council Data Origami Toon

Dennis Walker Mark Bolitho/Thea Anning Paul Jackson Tony O’Hare Ray Bolt Dennis Walker Robert Lang Mick Guy Patricio Kunz Tomic Mark Brafield Ilan Garibi & Gadi Vishne Lee Armstrong Hans Werner Guth Hans Werner Guth Simon Scarle Emily Monaghan Nick Robinson Ariel DeAndrea

Halle

In brief We are always looking for more diagrams, articles, reviews, mini-meeting summaries, gossip, cartoons, puzzles and anything else origami-related. Submissions are appreciated but may be edited for length and/or clarity. Sadly, not all submissions may be used. Please send news items to [email protected] and all other items to [email protected] or by post to 182 Mountview Road, Sheffield S8 8PL For diagrams, please complete the permissions form at www. britishorigami. info/society/magazine. php The electronic version is available for download to members shortly after the printed version is mailed. If you have forgotten your login details, please email your name and membership number to Penny.

Cover : Crane #10, an oil painting by Ariel DeAndrea (and you can buy the original, see p37). Thanks to all contributors and proofreaders Ray/Mark/Clare for this issue. Aux MFPP; l’éditeur, il est Charlie! Please Contribute! Your magazine is always looking for news, reports, articles, photos, reviews and diagrams. Ideally plain text or Word format, but PDFs are also accepted. Photographs in any format, preferably colour and as high a resolution as possible! Submissions deadline is 8 March for issue 291.

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Landmarks Welcome back To all of you reading this, welcome back to the society, thanks for renewing your subscription for 2015, or if you are a new member, thanks for joining. Hopefully you will enjoy the benefits of membership and be able to participate in the activities of the Society, whether by attending a convention, or mini meeting, using the library service, or writing something for the magazine. The society works through sharing and participation, so do please get involved. We aim to make the society as relevant as possible in its contribution to both the British and the worldwide origami community. However, we can always improve. If you have any ideas or feedback on things we could do better, please let us know. Any compliments on what we get right are also appreciated by the team of volunteers that run the society.

Spring convention The Spring 2015 convention will once be held at The Campanile Hotel, Chester Street, Aston, Birmingham B6 4BE. It will take place between Friday March 13th 2015 and Sunday March 15th 2015 Building on last spring’s highly successful paper-themed convention, this year we are going to explore other folding media. We are aiming to include sessions where we fold with fabric, aluminium foil, lightweight plastic etc as well as a variety of papers. If you have any exciting suggestions for materials please feel free to contact the organisers. The event will be open to all. However, all attendees are required to register in advance and pay the convention fee. 2

This can be done through the BOS website. Rooms at the hotel are twin or double for up to two occupants so you will be able to room share if you wish, although you will have to make your own arrangements to do this. There are also family rooms and some rooms with facilities for the less abled. Contact Penny for details. [email protected]. Sarah Mowbray and Margaret Burling will be organising the convention. If you would like to teach a class, then please contact them. If you can help with the event in any way, contact either Sarah or Margaret. These events don’t happen by themselves and volunteers are very welcome. More information: www.britishorigami.info/ society/meetings/condata.php

Autumn convention Colchester The BOS autumn convention is scheduled to take place between Friday 4th September and Sunday 6th September 2015 at the University of Essex in Colchester. Adam Woodhouse will be the convention organiser. More details will be available closer to the event. However, if you would like to assist him with the organisation please contact either myself or a member of the council. More details of the event will be published later in the year.

A call for new model diagrams Designed and diagrammed anything recently? Then please send in your diagrams. We have two main routes to publish diagrams, in our magazine, British Origami, and in our bi-annual model collections. Michael Trew will be coordinating 2015 model collections. (due to the dates of the

spring convention it may already have gone to print by the time the magazine arrives). The model collections will be published as both a book and a CDrom. A complimentary CDrom of the collection will be sent to the contributors whose models are featured in the collection. If you have any new designs you would like to share then please email them to [email protected] Models for the magazine should be sent to the editor [email protected]

Changes to the Council in 2015 2015 sees the election of a new president to the Society, Max Hulme. He succeeds Penny Groom who held the post for a (fixed) three year term. The new council was elected for a calendar year at the AGM. We would like to welcome our new (yet old) Editor, Nick Robinson our new Secretary Thea Anning, plus new general officers Nigel Elworthy and Ray Bolt. All officers assumed their posts at the start of 2015. We would like to thank the council officers who retired in 2014 for the work that they did for the society in the year, including Tung Ken Lam (Editor), Michael Trew (Secretary) and Michael Formstone. We are always on the lookout for volunteers to bring new ideas and enthusiasm to Society. If you feel you can help, either on the council or in any other way, please contact me or any council member.

BOS Council Meetings The Council meet four times a year to organise and plan the business of the society. Future dates for these meetings are; 21st Feb, 16th May, 1st Aug and 21st Nov. The AGM will be held at the autumn convention on 5th Sep. If you would like an issue discussed at any of these meetings, please contact me two weeks before the meeting dates.

standing member of the BOS and ELFA, (Envelope & Letter Folding Association) and managed their website. When she realised that she was critically ill she contacted the BOS and we have agreed to host the ELFA website to keep her research and work alive. www.britishorigami.info/academic/elfa

Harbin and Kenneway Copyrights The British Origami Society is responsible for the copyrights of the books, diagrams and models produced by Robert Harbin and Eric Kenneway. These legacies produce a small income for the society, but more importantly enables the models of these creators to be published with the due care that should be applied. Publication permission is granted through consultation amongst a four person committee of trustees. In 2014 teaching permissions were granted and requests were received to use one of Eric Keneway’s models, the face of Albert Schweitzer.

New Website Material We are always on the lookout for new material for the BOS website. New material is in the member’s area, including some of the society’s collection of diagrams (the “M” series). The Society is grateful to Rick Nordal for allowing us to publish his origami snowflake game on the BOS website: www. britishorigami.info/fun/nordal_snowflake.php Prepared by Mark Bolitho and Thea Anning [email protected] Thea Anning

ELFA Website In July of last year the origami community lost Elsje Van Per Ploeg. She was a long

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Penny & Paul

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Review Cut and Fold Techniques for Pop-Up Designs : Paul Jackson This book is part of a tetralogy of books written by Jackson for Laurence King Publishing, the others being: Folding Techniques for Designers, Structural Packaging and Cut and Fold Techniques for Promotional Materials. As you would expect, it follows the same visual style of the others, being an 8.5” square, devoid of any colour, with 130 pages of content. Having taught folding technology in universities around the world, few other people could bring such a wealth of experience and expertise to the subject. The key to the book’s target audience is in the title – “techniques”. This is not a book showing finished pop-up models, whether in the Victorian theatre style or the contemporary work of Reinhart or Pienkowski, but a compendium of techniques that can be combined and adapted to almost any purpose. The techniques involve almost exclusively straight-line cuts and folds, favouring “surface design over complex cutting”, as the publishers explain. No glue is needed! This does limit the subject to what you might call “natural” pop-ups, so there is nothing on multiple layers, floating layers, pull-up planes etc. so cleverly used in modern children’s books. However, this is not the target market. The book is aimed fair and square at marketing and packaging students and professionals, for whom it will undoubtedly form “required reading”, along with the others in the series. Together, they form a resource that is (to the best of my knowledge) unrivaled in the world of print. Available for the unusual price of £11.16 on Amazon, it’s not a book for origamists, but it was never intended to be and outside the world of origami, Jackson is far better known as a paper artist rather than a creator of representational models. If you have any interest in folding technology, you should buy them all and there are special offers if you wish to do so. More information can be found on the publishers’ site, including a series of videos. www.laurenceking.com/en/cut-and-fold-techniquesfor-promotional-materials Nick Robinson 5

BOS at the NEC Hobbycraft Show This was my first time helping out at the BOS stand at the NEC Hobbycraft show, Birmingham. The show ran from Thursday 6th – Sunday 9th November & I helped on the Friday, with Dave Venables, Mike Formstone, Margaret Burling, Alan Cotterill, Robert Foord & Robin Macey. It was the first time for Robert & Robin too, and I hope they enjoyed the day as much as I did. As BOS PR Officer, and in a private capacity, I’ve taken part in numerous craft shows in the past, but this one is easily the largest and busiest I’ve attended. At the same time as the Hobbycraft show in Hall 20, there was also a Christmas Show and a Cake show in different halls, showing the scale of the NEC show organization. The Hobbycraft show had rows of stalls selling everything a self-respecting “crafter” could want - from card-making equipment and materials, jewellery-making, beads, textiles, storage, paper, card, scrap-booking, stamping, decoupage, wood carving, various art & paint materials, framing - you name it, it was there…. plus food stalls, workshop & demo areas etc … The BOS have had a stall here for the past few years now, organised by the Birmingham minimeeting group, led by Dave Venables. It was clear that a lot of preparation had gone into the show. As well as a great display of origami models on the walls and in glass display cases, a teaching “taster session” menu had been prepared with diagrams available, with a selection of classic models, including a penguin, Yoshizawa butterfly, Xmas tree & lady bird on a leaf. Packs of paper and diagrams had been put together for people to buy – these were very popular. The supplies table had for sale more paper, books & booklets, starter packs & membership info, which we tried to steer prospective punters towards with our very best BOS sales pitch! Hats off to Robin in this respect who appeared to be veritably “on a mission”! During the Friday I was there, there was a steady flow of customers, peaking around late morning through to mid-afternoon. Teaching took place at the tables on the stall, with us all taking it in turns to teach, help with sales, talk to the public, show them round the exhibits etc, plus, very importantly, to wander round the other stalls ourselves. Dave informs me that Thursday was quiet but Saturday was a mega day. We sold out of packs on Saturday and made extra overnight and sold out of some of those on Sunday. The Christmas Tree pack and butterfly and penguin packs were the most popular. We recruited fewer members than at some previous shows but the takings on supplies were at record levels! It just goes to show that even during these austere times, some things like crafts are on the up. 6

As publicity and a “shop window” for the BOS, these shows are priceless, and as PR Officer I would like to thank all those who took part and helped make it happen. Special thanks go to Ray Bolt (the kit assembler extraordinaire) and Mick Guy, as ever, who worked hard during the 2 months prior to the event to pull it together. Thanks also to the other helpers Mike Formstone (who attended every day and helped collect and return supplies), Margaret Burling (2 days), Alan Cotterill, Agnes Mackonyte, Sarah Mowbray, Erica Thompson, Dave King (set up and 2 days) & Nancy Pitt (new local member). I find the whole experience of doing public shows like these amazingly uplifting, though quite tiring. Meeting & interacting with other arts & craft enthusiasts, and sharing origami with them is great fun, and for those just discovering our art, it often reminds me of the time when I first came across origami as a child - the excitement it gave me then, and still gives me now. I came away from Hobbycraft with a list from members of the public of follow-up photos to send, diagrams to email, info to give, and even (during one non-origami conversation) a couple of ancestry-tracing web-sites for me to visit. If you’ve ever considered volunteering to help out the BOS at a public event such as this, I heartily recommend you to do so. The Society can help towards travelling and other expenses if the primary aim is to promote the Society. Drop me a line: publicity@ britishorigami.info 7

Shades of Origami I visited the Grand Designs Live exhibition at the National Exhibition Centre near Birmingham in early October. Kevin McLeod, presenter of Channel 4’s ‘Grand Designs’ house building programme had his own stand displaying products made by his ‘Green Heroes’ - a group of chosen eco-innovators. Prominent on the stand were Sonobe-based lampshades called Petra Pendant and further research revealed that the designer and manufacturer of the hand made shades is Kyla McCallum who runs a design studio called Foldability. Kyla works with origami to create lighting products, packaging and bespoke pieces for interiors and various events. The Petra Pendant, one of a range of 6 Sonobe-based pendants, is made using 55 squares of paper, each one carefully folded and joined together by hand using Fedrigoni Italian parchment. In 2006 Kyla studied the mathematics behind the IQ Light by Holger Strom. She started folding in 2007 as part of her Masters of European Design at the Glasgow School of Art whilst on exchange in Cologne where her first origami related project was designing a tree house. She then made a skirt from 67 folded books and around 20,000 hand folded pages. In 2009 she discovered the Sonobe unit and saw that it was possible to use a similar mathematical theory that Strom had used for the IQ Light to create a range of new shapes. On line, she Kyla McCallum found that people had played around a little with the module to create an icosahedron and other cube like shapes but nobody had really discovered the full potential of the unit (hmmm - Ed). Over the space of a week or two she then created around 30 new models using the unit. Via email, I asked Kyla if she was aware of other folders specialising in modular origami and who her influences were. She explained, “I’m a fan of Richard Sweeney (paper sculptor), the late Ron Resch (an artist, computer scientist and geometrist, known for his work involving folding paper, origami tessellations and 3D polyhedra) and Matt Schlian (paper engineer). I try not to research pure origami these days as it’s more fun to come up with new shapes through experimentation. There are a million things that have already been done The Equi Cone Pendant so I’d rather follow my 8

own path than be influenced by what’s already out there.” After years of developing her folding addiction, in May 2013 Kyla launched Foldability, a studio specialising in origami and paper based design. It began with an exhibition at The Lighthouse, Scotland’s Centre for Design and Architecture. So what of the future? “I’ve got a range of designs that are suitable for a wide range Petra Pendant of applications”, she says. “I am teaming up and co-operating with other brands that can help bring these ideas to life. A big part of my work is material research and investigation into different production techniques. The origami part I find pretty easy but getting the material and production right in order to turn something into a functional product are quite difficult and take up a big part of my time.” Kyla is currently extending her work and developing a range of folded textiles using pleating techniques. Kyla has worked alongside the leading experts in pleating who have been practising intricate origami within the fashion industry for over 50 years. The designs are not yet for sale but will be launching soon. “My aim in working with the pleaters is to bring new life to an industry that is dying out and also to explore and discover unusual materials that can be folded. The most fascinating material I’ve been working with so far is a fabric coated with metal, which has aluminium, titanium, copper or gold on one side and black on the other (see illustration – The Equi Cone Pendant). “With pleating, the process limits the shapes that are possible so it’s interesting being led by these sorts of restrictions.” You can see more about Foldability, Kyla and her work at www.foldability.co.uk. Photographs reproduced with permission. Ray Bolt

New Members Here are the new members up to mid January, welcome to you all. Overseas: Arturo Bejar – Saratoga, CA. USA. Maria Hernandez – Barcelona, Spain. Erik Prume – Aachen, Germany. Anne Ducros – Lille, France. Mark McKinnon – Morganville, NJ. USA. Pam Janousek – Omaha, NE. USA. Rosemary Browne – Trail, BC. Canada UK Kam and Lee Chan – Sheffield. Martha Lowenstein – Belfast. Jo Stichbury – Canterbury. Stephanie Moore – Seaford, E. Sussex. Manish Solanki – London. Neal Curtis - Swanage . Chris Neilan and Katy Biggin – Chinley, Derbyshire. Alex Jones – Sowerby Bridge, W.Yorks. Eileen Ayres – Macclesfield. Miles Wollaston – London. Catherine Kilbey – Norwich. Alexander Wilson – London. Hope to see some of you at a convention this year. Best wishes Penny Groom 9

Going Walker-bout

Rambling through the foothills of origami.

Bookbinding About eighteen months ago I saw an advertisement for a new Edinburgh Craft company offering courses. One course was ‘Bookbinding for beginners’. Being of a bookish nature and enjoying paper craft, this seemed like just the sort of thing that I would enjoy. So I signed up. Before continuing too much further into this little backwater I should introduce two subcharacters that I’m sure you’ll all empathise with; one is ‘Origami-paper-folder-geek-Dennis’ and the other is ‘Rational-Dennis’. Not exactly the old ‘Angel/Devil’ scenario, but not far off! Anyway, on starting the course, Rational-Dennis liked the practical aspect of making notebooks, and enjoyed learning stitching and covering etc. but was getting concerned at Origami-Dennis’ excuses to buy even MORE pretty paper. This came to a head when I decided to look through the paper that I keep in an A0-size drawing cabinet in my garage (How I got that is a long story involving a work clear-out, four strong friends and waiting for the drive to freeze over. Seriously!) In this cabinet I found a number of papers originally bought for origami, but all highly suitable for using as covers for books. Including a large sheet of paper-backed bookcloth that I have no recollection of having bought (“HAH!” said Rational-Dennis, “THIS is the kind of thing I’m talking about!”) As the course continued it became clear that I was REALLY enjoying it. Like origami, it requires a level of technical ability to make the object, but a degree of artistry can be applied to modify or personalise it. Lots of nice new papers to keep Origami-Dennis happy, and some potential hand-made gift ideas to keep Rational –Dennis happy! Turns out, some people really like receiving a hand-made notebook for Christmas. So, of course, I started to wonder about ways that I could combine the two hobbies. The first, and most obvious, way to combine folding and bookbinding is to make books by folding pages together. Glue can be avoided by using weaving methods or stitching. My only real attempt along these lines was to make a standard ‘Accordion’ book using some Fabriano paper for the folded pages and a nice red Yuzen for the cover. But there are a number of other techniques I can try. I then wondered about using an origami pattern for the cover. I have a few ideas for this, mainly involving Tessellation techniques. I’ve tried two so far, both using elephant hide. 10

I’ve also considered using a modular approach, i.e. make an origami quilt-like flat pattern and use that as a cover. I haven’t tried it yet, but I intend to give it a go at least once! Then I had a brainwave. Why not make a container for paper? In fact, if I use box-pleating I may even make a paper holder that LOOKS like a book. This was one of those ideas that seem to just arrive in your head fully-formed. As soon as the idea hit, I knew what I wanted to do. Instead of making a normal book-block (which is the technical name for the bit of a book that has the pages in it) I would make a folded book-block similar to the ‘Troublewit’ pattern, but making sure that the zig-zags would form little compartments. Then I’d put a cover on it, with a bow! Paying close attention to the sizes, I made sure that it would hold 75mm square paper. I’m really quite pleased with how it turned out. I have a few other ideas for combining the two hobbies, but they’ll keep for another time. If you are interested in bookbinding, I’d recommend finding a course, it really does help, but there are a good number of very good books full of ideas and techniques. Here are some that I have found useful: Bookbinding – A step by step guide - Kathy Abbot. ISBN 978-1-84797-153-1. Very clear instructions on the technical aspects of bookbinding. Making Handmade Books (100+ Bindings) – Alisa Golden. 978-1-60059-587-5. More craft-like with many projects showing different techniques. Lots of ideas! Dennis Walker

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The Paperfolder’s Life List... ..To Make, Meet, Visit and Explore 18. Fold small If folding big needs a team, then folding small requires a microscope and solitude! In 1977, the BOS ran a competition to find the smallest flapping bird. Many took part with the side of the square reducing to an incredible 2.9mm. Folded by Japanese folder Akira Naito, the sample he sent was the traditional crane mounted on a pin inside a glass globe. It was on display at an exhibition open to the public not long afterwards. Alongside the globe was a caption stating that it was the smallest flapping bird in the world. One visitor, a youth, after studying the model, turned to his girlfriend and said, “Do you know, I have been watching that bird for five minutes and it hasn’t flapped once!” Before he died in 2010, aged 88, Naito had gone on to even smaller things - see http:// web-japan.org/nipponia/nipponia41/en/ feature/feature12.html photos: Naito by kind permission of the NOA and Robin Macey photo of crane)

A 2.9mm flapper!

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19. Rediscover Folding Faces The subject matter of Eric Kenneway’s 1978 book is like no other origami publication. As a trained artist, his knowledge of human anatomy became very useful as he took on the portrayal of some famous faces. He argued that it was pointless folding a face unless the public had got used to seeing a ‘celebrity’ in a cartoon form. His Edward Heath (a former UK Prime Minister) with protruding nose never made it to the book but when I taught it at a Conservative Association it was instantly recognised. So many years on, other celebrities have arrived. Tony O’Hare has a nice origami Wallace and Grommit. But is there an origami portrait of Mick Jagger or can Halle’s portrait of Prince Charles in BO284 assist us? Could we even design the Mona Lisa? Akira Naito

20. Fold a thousand cranes White Tailed Deer The inscription, on the monument at the Japanese Peace Memorial Park in Hiroshima, reads; “I will write peace on your wings and you will fly all over the world.” Sadako Sasaki. Sadako was two years old when she was exposed to the radiation of the atomic bomb. She grew up normally but then developed leukemia. Believing that it might heal her, she set out to fold 1000 cranes. It is unclear as to whether she achieved this but at the very least she folded many hundred before she died at the age of twelve. Moved by her death, the local authorities of Hiroshima set up a monument to commemorate all children who died as a consequence of the atomic bomb explosion. School classes in Japan regularly visit the monument and leave chains of origami cranes at the site. Photo: Assia Brill

Mick Guy

Histori How many of you remember this promotional item from the 70s?

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Review: The Origami Home By Mark Bolitho ISBN 978 1909342 51 4 153 pages, hardback Origami books cover a wide range. At its most basic, an origami book simply presents a collection of folds for the enthusiast. At a more sophisticated level, however, books have explored the maths and geometry of origami (Origami Design Secrets by Robert Lang), its cultural and historical context, or have self–consciously approached it as a form of high art (Origami Art by Michael LaFosse and Richard Alexander). The Origami Home by Mark Bolitho takes a new angle and presents origami from the point of view of the designer, not just as the designer of the folds themselves (which are generous and varied), but also in terms of furniture and interior design. As Mark Bolitho explains in his introduction, ‘There is a long tradition of furniture models in paper folding, and there are many tables and chairs among the traditional models of Japan and Korea. However, it is a genre that is often overlooked. This collection of paper–folded furniture has contemporary origins. It presents more than ten years of development of furniture design and includes many unpublished projects’. The models include a range of tables, chairs and other furniture, displayed in a number of sets including a living room, a modern/retro dining room, a family dining room, a bedroom and a workspace, complete with a computer screen and keyboard. And yes, there is a toilet. Some of the models can be traced back to commercial contracts that Mark Bolitho has undertaken and a keen practicality informs all of the models. Whilst, therefore, the models display the robust clarity of the commercial artist, at the same time they have all the hallmarks of Mark Bolitho’s folding sequences; original, concise and elegant. The paper is used with great thought with, in particular, some especially satisfying locks and interleaving of layers. Personal favourites include a dining chair, a recliner and a bed with its cover already turned down that simply begs the reader to climb in and drift off. The diagrams are clear although they present probably the maximum amount of information that can be included on one page without it becoming cluttered. Two pages on ‘getting started’ summarise the standard origami notation followed by an easy chair that is deliberately designed as an introductory model to welcome the inexperienced folder. Meticulous measurements are given for each model together with the sheet from which they start (not necessarily a square) to enable a harmonious grouping of items to be achieved. But the outstanding feature of the book is the way in which the folds and the papers from which they are made are presented as elements of a unified design. Michael Wicks’ beautiful photographs present the models in their rooms as if straight from the pages of the most stylish interiors magazine. Together these highlight a range of papers with designs supplied by leading wallpaper designers. References are provided beside each photograph to source the design. In his opening paragraphs, Mark Bolitho comments that some of the prototype projects for the book were made from wallpaper, wrapping paper and even maps. Obvious care has been given to the marriage of the individual papers with the pieces into which they are folded. Continuing this approach, and in keeping with an attractive trend, the book includes a generous packet of origami papers Friedrich featuring theFroebel designs included in the book, but this gives rise

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to my only slight quibble. Again, as is not uncommon with such papers, they appear to be derived from a plastic source rather an organic fibre paper which gives them a glossy sheen that takes the last degree of sophistication off the finished model. By contrast, all of the models photographed in the book itself are made out of a matt paper, whilst the paper on which the book is printed presents a beautiful satin finish. In addition, the diagrams in the book are presented with the print of the designs themselves rather than illustrating the coloured side of the paper simply with a darker tone. Whilst this is in keeping with the high production values of the book, this led to a couple of the diagrams being less than clear where the notational symbols were hard to perceive amongst the congestion of the print. These are, however, the most minor blemishes on a book that sets new standards for the elegant presentation of paper folding. All are to be congratulated on the production of a reasonably–priced volume that would be as much at home on a design–conscious coffee table as on a shelf of the most distinguished origami books. Highly recommended. Mark Brafield

Paper Review #24 Golden River a.k.a. Leather Here is our third Japanese paper to review. Golden River is distributed by Takeo and packaged by Toyo, and again, this is all we know about it. I encountered this paper in Italy, called “Leather”, not because how it felt, but mostly because of the look. There is a unique texture that reminds you of an animal hide. I found it again in Takeo store, in Tokyo, and later in Nicolas Terry’s Origami–shop site. With few resources, it is hard to research Japanese paper. We completed this review based on the lab tests and our own hands-on experience.

The properties: Thickness – the weight is 81 GSM, and has a thickness of 115 microns. Tant is the same in GSM but 10% thicker, for example. Sizes – not all are available in all stores, but you can find 15, 24 and 35 cm, and full sheets of 70X100 cm, and even 1091X788mm. Texture – one of the best features of this paper! It is like leather or skin. You can feel the embossed parts that look like long grooves, chaotic in order. It is rough to the touch, with a matt finish. The underside is flat and smooth, as in the production process the texture is embossed only on the upper side. Colours – Origami-shop has ten colours. The choices of the green, blue, red and deep red colours seem slightly odd given the nature of the paper, but the other six are more suitable for animals, with grey and various shades of brown to yellow. Paper colouring or colourability – using acrylic paint, the paper curled a little. No colour bled to the other side, and the length increased by 1 mm (out of 175 mm). Although the paper is highly suitable for coloring, you do lose the unique texture, which is no longer visible. Aging and Tear and Wear – this paper score is average, with 400/504 in the tear machine, and we did have some bad experiences during folding when the paper tore too easily. It scores 7 out of 10. Tensile Strength – numbers here are 50% better than Biotope, which is surprising. It can hold 9.7 Kg before snapping, and stretched by 4.4 cm, 20% less than Biotope. 8 out of 10. Bending Resistance – Imagine making an arc out of a strip of paper – how much weight can it hold on the upper point? The results – 116 and 50 are almost exactly average (118 and 49). 7.5 out of 10.

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Memory – the paper remembered creases extremely well. Creases, when sharpened, they tend not to move and the paper jumps to your command when changing from a preliminary base to a waterbomb base, staying relatively flat. 9 out of 10. Forgiveness – very high. Reversing a fold is done effortlessly. 9.5 out of 10. Photogenic – matt finish and a textured surface are a very good starting point, use your light smartly and you can get great images. With some colours (more with the lighter ones) the texture tends to disappear, but all in all it is highly photogenic! Price Group – 3 = moderate - fine folding – for showing in a monthly meeting. Where to buy The Source: https://origamiusa.org/catalog/products/leather-texture-mono The Origami shop: www.origami-shop.com/en/leather-papers-xsl-207_215_458_626.html The Takeo site: http://takeopaper.com/search/meigara_detail.html?q=3200100

Test results Modular – Flowery Qube, by Garibi Ilan, six units, 15 cm – simple folds go well with this paper. Then I made the six units without any problem. Puffing the petals shows this paper has a lot of tension, and can be stretched without crumpling. A minor issue is the weakness on the veins of the texture; if a crease is close to it, you may find it as an obstacle to use the crease and not the vein. Assembly is fun. Tabs are stiff, and the final model is highly stable. Tessellation – Pineapple tessellation, by Ilan Garibi, 35 cm – folding the grid you feel how sturdy the paper is. There is a major increase in the stiffness when you break the fibres. Reversing fold lines is done effortlessly, in both directions, although it is much better against the fibres. The good feeling continued while pre-creasing, as diagonals fold lines reach the corners of the squares without any problem. Collapsing the first phase is fast, and the second is just the same. The paper jumps into place, literally. The final model looks interesting; the texture is visible and adds a little to the model’s charm. Complex - Lyrebird, by Satoshi Kamiya, 35 cm – this model has many box pleating steps, and the paper is highly suitable for that. Creases through two, four (or more) layers at once leave a good impression on the paper so you can sink it back and forth easily. Doing so, you get a good vibe of “snappiness” when the paper jumps into place. Step 55 asked me to fold 30 layers at once. It’s doable, but not comfortably. From here on, it was disappointing. The paper is far too thick to show details. I couldn’t shape the legs, head or the tail, which is corrugated, with that many layers. One cannot crease it as shown. You must open the model and make pre-creases with the paper flat. The final model looks clumsy, far from the delicate model it should be. 3D models – Rabbit, by Hideo Komatsu 17.5 cm – I coloured the paper with grey FolkArt acrylic paint. This changes the behaviour a little with more resistance to shaping. The paper is not too thin, nor too thick, to have any real issues, even with the ears. Whilst shaping, there is no problem getting the volume for the body and for it to be stable while standing.

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Sheep, by Hideo Komatsu, 35 cm – truly, the first folds tell almost all the story. The creases are sharp, strong and crisp. Accumulating layers reveals a shortcoming – the layers won’t lay flat. Step 36 requires a reversal of the left side, and with sharp corners the paper resists. Quickly, this becomes the main issue – the paper is too thick to allow easy shaping of the legs, or to sink some layers together. It is an advantage when you lock the sides of the sheep together, since it holds strongly. Turtle, by Pat Crawford, 20 cm; Pegasus, by Edward McGrath, 15 cm – my first try with this paper was a complex model, a Centaur, that I couldn’t finish although I used a 35 cm sheet. There was no way I could shape the fingers, or other small details. I changed to simpler models. With intermediate level models, I found the paper easy to fold and shape. With many layers, if you can avoid tearing it, you will benefit from it being relatively thin. It did tear once along a fold line; it seems that fold lines reduce its durability.

Our young expert, Ynon Toledano experimented with Naomiki Sato`s Rose from a pentagon. He found the paper strong and durable, with no need to add MC. It is slightly thick to be suitable for complex models, but for this rose, without many overlapping layers, it was good. Creases are sharp, although a little difficult to reverse. Shaping the petals was easy and the result was satisfying.

Final verdict With 80 GSM, this paper is in between – too thin for tessellations, too thick for complex. But with the great texture, the unique look you can get with it and the way it can be shaped to will, it is a wonderful choice for 3D animals and modulars. Those models, without multiple layers and tiny fingers will benefit most from it. In Flickr it is more often known as Leather than Golden River.

Why should you buy it? The texture will be your main reason, but not only for that. Its midway thickness is a good compromise that allows both shaping and accumulating a few layers without a real problem. Bottom line – Beautiful texture.

Ilan Garibi & Gadi Vishne 21

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Lee Armstrong is a BOS creator who has started to post diagrams of his work on the web (http://foldawayorigami.tumblr.com). If you are a creator, however humble, why not send in some photos or diagrams of your work and tell us how you work? 24

Nice to meet you: Hans Werner Guth Introducing a member of the Society... I first met Hans at a Didactics conference in Freiburg and was immediately struck by his enthusiasm, creative thinking and genial nature. We have met several times and my admiration for the man has only increased. Those who follow his work on Flickr and Facebook cannot fail to be impressed by his tenacity and fertile imagination as he explores and develops folding ideas and techniques. He works mainly in the geometric field and has recently developed the Jump Unit and Eifel Star, the latter to be published in a book later this year. He is the special guest at this year’s Origami Deutschland convention. Nick Robinson HWG supplied this brief biography: “I was born in 1952 in the town of Dinslaken near the river Rhein. I finished school in 1972 and went to study sociology at the University of Bielefeld. I passed my Diploma in 1980 and married Angelika. Worked as criminologist at the University of Bremen. During my leisure time I studied my first computing machine - the Commodore 64 and learned to programme this incredible machine. In 1994 I was asked to enter the IT department of a bigger company to work as a programmer and consultant. In 2004, I had a serious heart attack. I decided no more overtime at work. I began trampolining and I changed my food to be more Mediterranean. I started folding paper in 2006 and went to my first Origami Deutschland convention in Bonn, 2010. My first creations have been the Jump and Eifel Star.” Flickr site : https://flickr.com/hwguth Jump unit video : www.youtube.com/watch?v=7v0Eou-Ive8

Modular constructions

Jump Unit

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Ori-News

Collated by Dr Simon Scarle

Evacuee Crane Business Ishinomaki, Miyagi Prefecture Japan - a small business to sell novel paper cranes lovingly created by a trio of women living as evacuees after the 2011 earthquake and tsunami disaster has found its wings, thanks to the assistance of a former first lady of Japan. The unusual cranes have pleats in their wings, making them appear as if they are about to take off. They have already found favour at highprofile events, even gracing the tables at a banquet held by Prime Minister Shinzo Abe for Southeast Asian leaders. High-end hotels, like the Imperial Hotel in central Tokyo, have started selling them at their shops.

survivors, Ochiai held a handicraft workshop at a communal site there. She hoped that it would give strength to those who had lost relatives and homes in the disaster.

Kindle Ad with Paper-craft Animals Amazon ironically links paper and e-reading in an animated papercraft and origamiinspired ad for its Kindle Voyage. The spot, by Ad Agency Wongdoody shows book pages flying out of the Kindle and forming shapes, from a lightbulb to a library to delicately crafted birds and trees. The agency worked with Los Angeles-based Mirada Studios, known for VFX and music-video work (such as the video for Katy Perry’s “Dark Horse”).

The cranes are folded by Noriko Sato and two fellow evacuees living in temporary housing in Ishinomaki. The proceeds helped Sato buy a kimono for her daughter in time for the coming-of-age ceremony in January. The crane-folding project is the brainchild of Sanae Ochiai, 61, a former principal of Irifune Elementary School in Yokohama. A few weeks after the disaster, she decided to take early retirement. She loaded her van with a tent and other equipment and headed for Ishinomaki to assist with recovery efforts. After temporary housing was built for

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Papercraft Insects by Soon Belgian creative studio Soon (www.comingsoon.be ) turned old magazines and other paper scraps into papercraft insects as part of a brochure on recycled paper products for the Igepa paper company.

Set Sail - Napkin holder Described as an “elegant ceramic napkin holder [that] will add a sense of tranquillity to any dinner table.” A napkin holder which looks like a simple origami boat with the napkins finishing off the design. Available from this on-line store: http:// eu.monkeybusiness.co.il/set-sail-napkin-holder

Digital Origami A representation of origami created using purely digital techniques. Do you think it captures the spirit of origami?

Paper-birds in a Garden Stunningly life-like and life-sized paperbirds (right) are on permanent display in the newly restored Webb Farmhouse & Galleries, in Longwood Gardens, Kennett Square, Pennsylvania. They are the work of Diana Beltran Herrera and more can be seen on her website: www.dianabeltranherrera.com

Reality Check A recent cartoon from the “Reality Check” strip by Dave Whamond.

And More Boats Spotted outside the City Hall in Seoul, South Korea, some traditional sailboats being folded to remember the sinking of the MV Sewol Ferry disaster in April 2014. 29

Meet the Council Chair - Mark Bolitho I have been a member of the BOS for more than 30 years and it has been a great honour to give something back to the society. Our biggest achievement last year was the publication of Origami Europe. A project designed to showcase the work of members of the European Origami societies. We have also developed the society’s relationship in London with The Japanese Embassy and the Japan foundation. Professionally I work as an origami designer through my company Creaselightning limited and my website www.creaselightning.co.uk. This has enabled me to promote the society at various local and overseas events.

Treasurer - James Simon I am a keen paper folder, having enjoyed modelling with paper since primary school. I have been practising and enjoying origami for over 50 years. I have attended many BOS conventions, and have contributed to the magazine. I have previous experience with finances having run my own business, and also been the treasurer of a Scout group, with six sections (Beaver colonies, Cub packs, Scouts troops etc.). I have experience of working in the voluntary sector. I have been chairman of a local community hall which is a registered charity. I am a team player and work supportively with colleagues, and other stakeholders.

Membership Secretary - Penny Groom I am in contact with all the members at some point in the year and am able to sort out many of their problems or direct them to someone who can. When I first had the position of Membership Secretary we just accepted cheques for payment and all application forms were paper forms. Now we accept credit card payment from overseas members and Paypal payment from all. Although not a “membership job” I have also enjoyed taking the bookings for conventions twice a year. Banking is a big part of the job, balancing the Paypal payments monthly and splitting them between membership, supplies, conventions and donations.

Conventions Officer - Sarah Mowbray I’ve been interested in paper folding since watching Robert Harbin on the TV as a child. Although I had been folding on and off most of my life, I only took the plunge and joined the BOS a few years ago. When I went to my first convention in Nottingham I was amazed to find so many other people who were also folders, I can honestly say it changed my life, a consuming but solitary hobby took on a whole new meaning when I discovered the total pleasure of folding with others, I haven’t looked back since. I work in the NHS as a senior trainer for the largest Community Trust in the country.

Public Relations Officer - Tony O’Hare This is my second term as PR Officer, having filled the role previously from 1998 - 2002. I have been a member of the BOS since approx 1973 (honestly!) and am happy to give back to the BOS and our membership some of the joy that origami has given me over the years. I am proud that 4 booklets of my origami creations have been published by the BOS, and I continue to share my folds, and folds by other creators, at conventions, mini-meetings and other events. My Smiley Origami web-site sums up my approach to origami - Keep Folding, Keep Smiling. The society’s presence at public events, craft shows and in the media generally is one I am keen to continue to encourage.

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Paul Hanson - Publications When I first joined the society I felt one of the most valuable resources was the booklets of members’ work published by the society. Although times have changed and it is now a lot easier for the resourceful individual to self publish, the new avenues available today present the society with new opportunities, and a wider field of distribution. My aims are to investigate the opportunities to expand the distribution of our booklets to a more accessible world wide market through advertising presented by new print on demand outlets. I am also interested in ebook publication, video and possibly mobile device applications, some of which I have been experimenting with including our youtube channel.

Phil Swinbank - Supplies Officer I am the author of the BOS supplies site and have worked to develop it and liaise with our distributors to ensure the smooth running of BOS supplies. BOS supplies now runs through a shopping cart e-commerce site and serves orders throughout the world. We have also introduced e-books to the BOS offering.

Magazine – Nick Robinson It’s clear to me that we need to develop a proper support team to make the editor’s job as enjoyable as possible and to maximise the value of the magazine to members. I want us to work towards dividing up the elements of the job, such as sourcing diagrams, writing reviews, finding interesting content etc. My hope is that one member of this team would at some point feel confident enough to take up the reins. I’m happy to continue looking after the website, as I have done since 1999. I joined the BOS in 1984 and still feel truly passionate about the Society – it has given me friendship, support and many other rewards out of all proportion to the work I have offered in return. I urge you all to consider standing for council, the BOS couldn’t continue without volunteers like yourselves.

Dave Raynor I am 57 and a Scout Leader with a penchant for ‘crafts’. Known in my Scout District as ‘the Origami man’, often asked to come and teach to Scout groups, Brownies, etc. Came late to the BOS - only joined 12 years ago. Passionate about origami, but don’t take it seriously. Helped out with the BOS stall at the NEC several times. Published one BOS booklet of models for beginners.

Pauline Trew - Librarian I have been librarian since 2004 and have made books available to members at conventions, mini-meetings and by post. I would like to develop more branch libraries across the country where members could access library books. The BOS has an extensive book collection, some of which I would like to be made accessible to members who are running school and college origami clubs.

Sharon Turvey I became interested in origami in the mid 1980s when a Japanese friend showed my children how to make some traditional models. In1998 I joined the BOS. In 2004 I started going to London mini-meetings where I was inspired to make my own creations. In 2004 I helped the BOS to organize an exhibit at the Embassy of Japan and I created a life-size Christmas tree for the exhibit. My husband, Les, and I supplied the signage for this convention and future conventions. Myself and Paul Hanson have co-organized two BOS conventions. I have been involved in all the BOS London mini-meetings and events. When I’m not doing Origami, I’m babysitting some of my 5 grandchildren.

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Ray Bolt I first found origami in my teenage years. I joined BOS shortly after I married Stella in 1971. Subsequently, I joined the Council as editor of British Origami, taking over from Iris Walker. During the 8 years of my editorship the newsletter progressed from a few sheets of A4 to an A5 booklet with photographs. Computers didn’t exist so everything was done by hand. Pressures of work and a growing family caused me leave the BOS for 30-odd years but I never lost touch and when I took early retirement in 2009, I rejoined.  Since then, I have been amazed at the progress made in the origami world. It is also interesting to see so many of the BOS youngsters of that era are now grown with families but still engrossed in the origami world, and to see my then contemporaries retaining their interest in membership and conventions.

Thea Anning I joined the BOS in 1978 and had little idea that 35 years later I would still be as excited by this incredible art of paper folding. I possess the same child-like wonder as I did all those years ago when I see the miraculous transformation of a sheet of paper into something beautiful. Origami is a fascinating, magical alchemy that I never grow tired of. In a time of virtual relationships based in the electronic ether - the BOS is special - bringing together like minded people from all over the world. Through the magazine and biannual conventions, showcasing the very best in origami. I always leave a convention with a renewed enthusiasm and lots of inspiration, As well as continuing to feed my passion for folding paper the BOS has introduced me to some amazing people and I have made life-long friends through membership of this society. When I’m not folding paper, I love hill walking, gardening and am currently working towards an art degree with the Open College of Arts (OCA) - although at the painfully slow rate I’m going, I will be in my nineties by the time I graduate. It is a great honour to be the secretary of the BOS and I hope to serve the society by ensuring it continues to flourish, producing outstanding publications and hosting wonderful conventions

Nigel Elworthy I’m one of the few BOS members living in South Wales. I had a happy time as the society’s Public Relations officer for 10 years, I’m now looking forward to the coming year on the Council. I remember being home from school ill and my parents bringing me my first origami book. It was Harbin’s Origami 1. That was really where I started; I have been folding ever since and now have quite a good selection of origami books. Like many others I think I buy more paper than I will ever fold. There are some nice pieces that I won’t be able to replace but I’m keeping them for that fold that will really suit that sheet. I’ve had some for years now. Sadly I’m no great creator of new origami designs. Those few things I have designed tend to be accidental discoveries rather than something I set out to try and make. In real life, I am a Telecomms engineer. I now work for Vodafone after they took over Cable and Wireless, but don’t ask me anything about mobile phones as I work on a contract for National Grid. For me it beats being stuck in an office every day but can be lonely as my nearest colleague is 200 miles away, but then the boss isn’t there looking over my shoulder either. Part of the appeal of origami is that it is about as far from technology as you can get. Yes, it can get frustrating when you cannot understand how to do the next fold in a sequence from a diagram but on the whole it’s a great way to relax.

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Dave Venables I discovered origami through the Rupert Annuals which I had received every Christmas as a child. I rediscovered the books through boredom at the age of 14 while off school recovering from illness. The 1958 annual featured the traditional frog which I persevered with it and finally succeeded. I began “impressing” friends by folding frogs from any bit of paper at hand. Robert Harbin had a regular short television spot each Thursday which I would rush home from school to watch and expand my origami repertoire. At the age of 19, Lynn, my girlfriend (now wife) bought me Robert Harbin’s book ‘More Origami’ whilst on holiday. The weather was wet and we stayed indoors so I was able to complete most of the models. Back to the shop the same week and we obtained Origami 1. Arriving home, I wrote to the address at the back of the books asking for information about the BOS and a few days later had a cheery telephone call from Mick Guy. At the time I had no idea that Warley was just north of Birmingham where I lived! We met at my house and Mick showed me a few examples of contemporary origami and we folded together. If I was not hooked already, I certainly was from that meeting onward thanks to the wonderful, heartfelt and energetic enthusiasm which radiated from Mick. Around the same time Mick started the mini meetings, held each month at his home where I met other origami enthusiasts. Not only locals like Steven Biddle, Pete Ford, Philip Blencow and Max Hulme, but others who travelled quite a distance to attend like Dave Brill, Paul Jackson and Joan Homewood. There were even overseas visitors on occasions - Philip Shen’s visit I remember particularly. Less than a year later I volunteered my services a Supplies Secretary, a job I would do for 11 years. Looking back it seems crazy now but in my formative years in the society I became involved in all manner of origami projects with Mick and Ray. We had 6 major exhibitions, I learned to illustrate origami and wrote 3 booklets. I was invited to appear on schools television - 38 programs over 4 years. My wife and I received overseas origami visitors on a regular basis and enjoyed having UK origami weekend guests stay. Thoki Yenn, Laurie Bisman and of course Neal Elias stayed with us and became lifelong friends. I met with Neal and his wife Betty first in 1984 and thereafter most years until Neal’s passing in 2005. In 1981 my son Guy was born and Nicola 4 years later. Origami took a back seat for a few years, although I remained a member. During my absence I was honoured with one of the first Sidney French Medals. Peter McKeown contacted me in the early 1990s and badgered me into attending a Birmingham mini meeting. The friendliness of the group re-invigorated my enthusiasm and I started to become involved. I was greatly honoured in 2008 to be invited to New York as joint special guest with Max Hulme at OUSA’s convention where I taught and spoke about Neal Elias. In 2009 I was invited to be BOS President - the greatest honour of my life. This also allowed me to serve on the BOS council once more. I enjoyed my 3 years and facilitated a convention at Cadburys of which I have very fond memories. I have at my home a large part of the BOS archive which I am slowly organising and digitising. I retired from work 4 years ago and while visiting a show at the National Exhibition Centre thought; “we, the BOS, can do this..... “ We have now attended the Hobbycraft show, a major showcase opportunity for the BOS seven times, recruited around 30 new members and promoted and demonstrated origami and the British Origami Society to thousands of people. Last year I finally finished and published ‘The Origami World of Neal Elias’ on DVD ROM which I believe to be the most complete reference on a single paperfolder ever produced. I have run an adult origami class for the University of the Third Age (U3A) for over a year now. My group’s origami skills have blossomed during our lessons and they are now at quite a high level - I feel like a proud dad. All this and how many models have I created? There’s my duck and a few more, but not many. My enjoyment over the last 40 plus years has come from the unselfishness of BOS and other origami enthusiasts and the encouragement they have given me and which I, in turn, try and pass on to others.

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Review: Drawing Origami vol. 1 by Halle / Pere Olivella / Nicolas Terry 210 pages hardback A4 ISBN 2-84424-039-9 A wonderful present arrived shortly before Christmas, a copy of the new book by Halle / Pere Olivella / Nicolas Terry (a.k.a. the 3 Stooges), a copy of their latest book. Terry has already established a (deserved) reputation as a publisher of the highest quality, producing a seemingly endless supply of new material for folders around the world through his company. Written in French, the introduction is full of humour and details of the production team and various folding techniques. The “prologue” was supplied by myself and they didn’t change a single word, which was brave! The text within the diagrams is in English, a sensible decision considering the world-wide appeal of this book. Across the 210 pages are presented 36 models ranging from simple to complex level, designers are drawn from around the world and represent the new generation of designers, such as Sébastien Limet, Nguyen Ngoc Vũ, József Zsebe, Maria Sinaskaya, Gachepapier, as well as more established folders such as Robert Lang, Román Díaz, Halle and Quentin Trollip. What strikes you immediately, looking at the gallery / index, is the artistic sensibility that has permeated through origami over recent years – almost all the models are 3D to some extent, and display a refinement of technique and touch that used to be quite rare. Clearly, this reflects the good tastes of the compilers, who know a good design and creative talent when they see it. Then you get to the diagrams, but what diagrams! Halle (a.k.a. Carlos González Santamaría) has for some time been the most exciting diagrammer on the planet, to my eyes. His work is computer drawn, using steps folded by Olivella as the basis for delightfully three-dimensional, witty and eye-catching representations of the folding sequence. Every single step is lovingly created to include subtle shadows that really give the drawings some life. You can see an example in the “Pelican” diagrams on page 16. I cannot imagine the time it takes to draw these and I cannot praise Halle enough. As a diagrammer, I’m always looking for new ways to improve my work, but the bar set by Halle is metres above my best. I have found it impossible to pick out highlights, the diagrams encourage you to get the best out of every model and with practice, you can hope to match the standards of the photographed examples. At €34, I feel it’s good value, plus you can get a pdf version as well for a mere 2 euros. A thick, hardback book is always going to attract depressing postage costs, but you should try and get a copy of this book if you can. Not only is it well worth it, but you are helping to further the work of the publisher, who deserves the fullest support of the origami world. You can order direct from www.origami-shop.com Nick Robinson

Hands on - Yes? No?

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Cover Story : Ariel DeAndrea I saw some of Andrea’s work on the web and asked for her permission to use an image on the magazine cover. I also asked how she got so much detail into a relatively small painting, the answer was “patience and small brushes “. The Editor Here is her story. “As a young girl I was entranced by the Japanese mythology of the red crested crane. which could live a thousand years and if you folded 1,000 origami cranes you got to make a wish for the sick to get better. Growing up without religion in the home, the commitment of folding 1,000 cranes to make a wish was a practical form of prayer I could understand, having never been taught to pray. “When my father fell ill, I struggled with how to cope with this adversity, I turned to folding a thousand cranes. It eased the helplessness I felt. Carefully selecting the paper for each bird and meditating on my purpose for folding them, the plan to set them to flight began to form. This began my installation work, completing a total of 3 flocks, each with 1,000 cranes: first, for my sick father, second, when our country went to war in Iraq, third, when my mother fell ill. Creating a space for these origami cranes to fly was a way to share my hope, love and commitment to the wish I had made with others. The impact of seeing each bird with its space to fly, knowing that the hands of one person carefully crafted each one, resonated with my audience. “I wanted to take this one step further by beginning a series of paintings featuring a solitary origami crane because, as amazing as 1,000 cranes are, each bird is very important to the whole; each crane should be cared for in the process. It is not just about the impressive whole, but each component. I feel that in my style of painting I am able to further breathe life into the symbol of one solitary crane by placing it in real life situation where it gets to behave as a real bird would, riding with the current or the water, nestled amongst plants and interacting with the human form so that it might take on greater symbolism as a talisman of hope. “Then one might look at the entire flock and see that it is made up of 1,000 different personalities, spirits and moments of hope. Although the crane could be seen as little more than a child’s toy, in the setting of my paintings, the illusion becomes real and the cranes take on character, personality, and life. To truly express the hope of the crane, I have also created the juxtaposition of the crocodile, an ancient creature that represents ultimate destruction and fear in my dream life. “My goal in the execution of this work is to create imagery just realistic enough to convince my audience that the world is real, while maintaining a painterly and interpretive approach that allows for emotionality in the work. Up close I like the strokes to inspire feeling and decisiveness.” Ariel DeAndrea You can see more of her remarkable work (which is also for sale) at www.arieldeandrea.com

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Letters Hi Nick, We ran a project for the “1000 cranes” World Origami Days project at Lathallan School, a small boarding school in the north east of Scotland. I am a sixth year student there. The cranes took about two weeks to fold, and sparked much discussion and interest in origami. As a result, the club membership has grown slightly, and even after the end of the WOD period there have been little cranes made from lined paper or sweetie wrappers appearing about the place!

Lathallan School

One group of boys had a competition to see who could fold the smallest crane, and the pupils definitely seem to have engaged with this. Many have looked into the story of Sadako Sasaki, either with teachers or by themselves, and been touched by that... and combined with the work of the school’s newly appointed Mandarin teacher, there is a huge support for study of the oriental arts in the school. Thanks, Patrick Kinnear

Kinnear Origami Club

Hi Nick, Colin Butterworth is a friend who has just returned from a holiday in Ecuador. He writes: I’m going through the Ecuador photos, and came across this. We thought you’d be amazingly interested! The sign was in Quito - the capital of Ecuador, and it says, ‘Factory of Origami’. The website http://origamienecuador.com is in Spanish but it looks as if origami is practised in Ecuador! Mick Guy

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Mini Meetings Mini-meetings are the best way to meet other folders in your area regularly. Please support your local groups by sharing your enthusiasm. Keep readers updated with what’s been happening at your meetings by sending in your reports. If there isn’t a mini-meeting near you then start one! Ask any council member or contact other organisers for advice. And, of course, let the Editor know about your meeting and you’ll be added to the map. SCOTLAND

Last Sunday of every other month Contact Dennis Walker 01 383 8801 93

MANCHESTER

Every third Saturday. Contact David Tittle david_tittle@btinternet. com

SHEFFIELD

Date varies. Contact Nick Robinson 0114 250 9388

NOTTINGHAM Contact Erica Thomson 0115 981 2750 or [email protected] BIRMINGHAM

Last Sunday of every month. Contact Dave Venables 01 564 824255 or Peter Borcherds 0121 4753029

OXFORD

Meets from 7pm every Monday night during term time, usually at Brasenose College. Contact Peter Buchan [email protected] or go to http:// groupspaces. com/OxfordOrigamiSociety

BRISTOL/BATH Meetings on first Saturday of even months. Contact Tony O’Hare tohare@ blueyonder. co.uk or 0117 9023892, or Matt Humberstone matt@ humberstone88.plus.com or 07805 7741 82. SLOUGH

Contact David Raynor 0791 9 205671

LONDON

Second Saturday every month Royal Festival Hall, Southbank, 2 pm to 5 pm. Contact Paul Hanson [email protected] or 07759 650060. Or via the webpage www. britishorigami. info/society/london. htm

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The BOS Council President Vice-Presidents

Max Hulme David Brill, Mick Guy, John Smith, Iris Walker

Chair General Secretary Treasurer Conventions Officer Librarian Magazine Editor Membership Secretary Public Relations Officer Publications Officer Supplies Secretary

Mark Bolitho Thea Anning James Simon Sarah Mowbray Pauline Trew Nick Robinson Penny Groom Tony O’Hare Paul Hanson Phil Swinbank

Other officers

Ray Bolt / Nigel Elworthy / David Raynor / Sharon Turvey Dave Venables

[email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected]

If you wish to raise a matter with the council, or have an interest in volunteering for the Society, please contact the chair via the website or the email on this page. We look forward to hearing from you!

Enquiries For general enquiries

For membership enquiries

Thea Anning BOS General Secretary 60 Sunnyvale Road , Toley, Sheffield S17 4FB Telephone: +44 (0) 114 2353547

Penny Groom BOS Membership Secretary 2a The Chestnuts, Countesthorpe Leicester LE8 5TL

Matthew Heyward in action at the Bradford Convention Legal Details All contents copyright the British Origami Society 2014 (Charity Number 293039). Contributions remain the copyright of the contributor. We reserve the right to republish this magazine in electronic form. No part may be reproduced, stored in a retrieval system or transmitted in any form, electronic (including the Internet), mechanical or otherwise, without the prior permission of the copyright holders. ISSN 17453410

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Them were t’days...

Dave Brill, strutting his stuff Travolta-style at his 40th birthday. (pic Bronco Sinkin).

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