December 16, 2022 | Author: Anonymous | Category: N/A
ISSUE #138 • SPRING 2022
Box Pleating Studio The Magazine of OrigamiUSA
Selling Digital with NFT
Origa Or igami mi in the Gar Garden den Distributed to origamidoge (
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IN THIS ISSUE
FEATURES 6-8 Origami in the Garden, by Barbara Bentree 14-16 A Crease to Build a Dream On, by David Casey
21-23 Introduction to Box Pleating Studio, by Mu-Tsun Tsai
26-27 Origami Zen and the Entropy, by Tom Conally
28-30 Does Origami Have a Future in the World of NFTs? Interview with Tadashi Mori. By Laura Rozenberg
FROM THE HOME OFFICE
For Kevin and Jennifer Box, the monumental sculpture, aptly named Perennial Peace, is a timely reminder that Nature always wins, even in the darkest of times. Kevin Box standing by Perenniall Peace, a Tulip Perennia for Betty, 2022. Artists: Kevin Box and Michael G. LaFosse Powder-coated fabricated aluminum - 202" x 72" x 84" Turquoise Trail Sculpture Garden (New Mexico)
3 President's Letter 4-5 Spring Fold Fest, Second Edition! 17 Obituary: Mark Bolitho 31 News from The Source
DIAGRAMS 9 Peace Sign, by Sy Chen 10-13 Sneakers, by Paul Jackson 10-13
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18-20 18-20 Lark Box, by Paul Jackson 24-25 Car, by Hadi Tahir 24-25
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2 The PAPER | Spring 2022
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ISSUE #138 • SPRING 2022
the Magazine of OrigamiUSA (Formerly Te Friends o Te Origami Center o America)
15 West 77th Street New York, NY 10024-5192 (212) 769-5635 ax (212) 769-5668
[email protected] VISI OUR WEBSIE A: www.origamiusa.org Te magazine is published by OrigamiUSA to communicate with its members and to share ideas and inormation about the art o paperolding. Mail editorial material to the Home-Office at the above address with “Attention: Te Paper” marked clearly on the envelope, or email to:
[email protected] The Paper – Editorial Staff Laura Rozenberg, Managi Rozenberg, Managing ng Editor Lanny Sherwin, Editor Editor Wendy Zeichner, Advising Zeichner, Advising Editor Marc Kirschenbaum, Diagram Editor Gay Merrill Gross, Kathy Wallace, Patsy Wang-Iverson, Proofreaders Ella Fornari, Contributing Fornari, Contributing Editor for this issue The Paper Committee
Laura Rozenberg (Chair), Lanny Sherwin, Wendy Zeichner OrigamiUSA OrigamiUSA is a volunteer-based not-orprofit tax-exempt, tax-exempt, cultural and educational arts organization organizat ion ounded in 1980. Its mission is to share the joy and appreciation o paperolding, preserve its history history,, nurture its growth, bring people together, and encourage community among paperolders. FOUNDERS
Lillian Oppenheimer (1898–1992) Alice Gray (1915–1994) Michael Shall Shall (1949–1995) BOARD OF DIRECTORS
Wendy Zeichner, President Jason Ku, Chair Patty Grodner, Vice Chair Michael Montebello, reasurer Kathleen Sheridan, Secretary David Kandel Marc Kirschenbaum Edith Kort Rowen Pierick OrigamiUSA STAFF
Andrea Brecker, Admin Brecker, Administrator istrator Heidi Lenney, Manage Lenney, Managerr for Te Origami Source Source Veronica Carman (Editopia Design), Designer for Te Paper Ella Fornari, Social Media Marketing
Letter from the President Dear Friends, OrigamiUSA continues to have a lot o activity online! Our wonderul FoldFest 2022 event just happened on April 23-24, 2022. Tanks to all o the teachers and chat managers or their time and creativity creativity,, and a special shout out to the committee chair Jason Ku, or all he did to make this event happen. It was a 25-hour event with teachers, lecturers and volunteers volun teers rom 11 differe different nt ccount ountries! ries! Photo Photoss o the ev event ent are iin n thi thiss issue issue o Te Paper . Have you been to the Origami Caé? Please come by with your origami riends. Our space in Gather. Gather .own own has been redesigned as an online community space that is available 24/7 and it is ree to anyone in the origami community. You just need to register on our our website at https:// origamiusa.org/origami-cafe (the password Join us in the Origami Cafe. changes monthly). We We had over 100 people Available 24/7 register or the first event on March 12, 2022, and some local groups have started to meet there. Tanks so much to Janessa Munt or designing the space to be so welcoming to all and to the Gather Committee or helping with management o the space. I am so happy that OrigamiUSA can provide a space or people to old that is or anyone, anywhere, any time! Check the webpage or details on how to participate or plan an event. What’s coming next? Our in-person Annual Convention 2022! Tis is our first in-person event since beore the pandemic. Te Convention C onvention will be held in New York City at the imes Square Sheraton hotel on June 24 – 27, 2022. We have five abulous special guests: Quentin Trollip, Beth Johnson, Michael LaFosse, Richard Saturday,, Sunday Alexander and Jeremy Shafer! We will have three days o classes on Saturday and Monday and lots o un activities including: AROS (Te Amazing Race Origami O rigami Style) on Friday, an Airplane Contest on Sunday afernoon, Oversize Folding with 9-oot squares on Sunday evening, e vening, Artist rading Card swap, PinsPLUS Exchange, and an Origami-to-Go table. As always, Te Source will be open or shopping, and there will be a beautiul Exhibition. I am thrilled that on Saturday evening we will have a screening o the new documentary about Kevin and Jennier Box called Origami in the Garden. Afer the screening, we will have a chance to talk with the director, Barbara Bentree, as well as Kevin, Jennier and the origami artists eatured in the film: Robert Lang, Beth Johnson, Michael LaFosse, and Richard Alexander. Tere is a wonderul article in this issue o Te Paper about about the film. I just can’t can’t wait to see eeveryone veryone in person and old together! I really hope you will join us. Registration is open now. Full details about the Convention, including how to sign up or a hotel room, can be b e ound here: https://origamiusa.org/convention2022 Looking orward to seeing se eing you in Manhattan!
Wendy Zeichner
OrigamiUSA President May,, 202 May 20222
Spring 2022 | The PAPER 3
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ORIGAMIUSA GOES VIRTUAL
Spring FoldFest On April 23 rd folders from around the globe globe gathered online for FoldFest Spring 2022. This was OrigamiUSA’s second year running a FoldFest event, which brought together about 300 participants for an epic 25 consecutive hours of folding. Jason Ku (OrigamiUSA Board Chair) organized and led the event with a global team.
Second Edition!
ABOVE. Folders meet on Gather.town during FoldFest!
LEFT. Folders share their latest models on Gather.town Gather.to wn during FoldFest. (Photo from Boice Wong) BELOW. Folding together on Gather. town during FoldFest. (Photo from of Boice Wong)
he schedule or FoldFest eatured 20 presenters rom 11 countries and covered a broad range o content rom simple to complex models. Models were taught by Himanshu Agrawal, Meenakshi Mukerji, Nobuko Okabe, Oriol Esteve, Joseph Wu, Morisue Kei, Gen Hagiwara, Won Park, Krystyna Burczyk, Ali Bahmani, Marc Kirschenbaum, and Hang Pan. he event also eatured special lectures rom origami luminaries, including: Ilan Garibi, homas Hull, Madonna Yoder, Jun Mitani, Marcio Noguchi, Riccardo Foschi, and Brandon Wong. FoldFest utilized Gather.town, an online platorm which allowed olders rom around the world to meet virtually and old together throughout the 25 hours. A big thank you to all who taught, lectured, gathered & olded with us or FoldFest Spring 2022!
4 The PAPER | Spring 2022
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1. Crane Figure by Hang Pan, folded by Boice Wong 2. Skull by Joseph Wu, folded by Boice Wong 3. Toy Rocket by Himanshu Agrawal, folded by Boice Wong 4. Spring Pu Ring
designed by Nobuko Okabe, folded by Boice Wong 5. Spring Pu Ring
designed by Nobuko Okabe, folded by Brent Thacker 6. Gear by Morisue Kei, folded by Boice Wong
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7. TIE Fighter created by Won Park, folded by Glenn Sapaden 8. Meenakshi Mukerji’s Pinwheel Dodecahedron, folded by Janet Yelle
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9. Meenakshi Mukerji’s Pinwheel Dodecahedron, folded by Debby, Emily and Gabriel Sherman
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11. Exploring Twist-based Tessellations with Madonna Yoder– folded by @origami_ morocco on Instagram 12. Swan designed by Himanshu
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10. Penguin designed by Oriol Esteve, folded by Brent Thacker
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Agrawai, folded by Brent Thacker
Spring 2022 | The PAPER 5
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UNFOLDING PEACE
Origami in
the Garden Film By Barbara Bentree (Film director)
I am grateul or this opportunity to tell you about my new ilm project titled, “ORIGAMI IN HE GARDEN FILM” that was just released in the USA. his Feature Feature Length Documentary Documentary is currently being screened at national and international international ilm estivals and receiving great reviews. “ORIGAMI IN HE GARDEN FILM” is the origin story o sculptor Kevin Box, an artist who takes small origami oldings and supersizes them into metal sculptures…some sculptures…some that are as high as 25 eet! his ilm is also a wonderul love story and an inspiring example o how important it can be to collaborate with others i you want to make a monumental impact with your art.
Why make a flm? Documentary ilms are a great way to get an in depth understanding about any subject. My company, Jindojazz Productions, is committed to creating “Positive Images Images or the Planet.” I believe that the “sot power” o media ccan, an, and does, change the world. his ilm truly ulills ulil ls that mission.
Painted Ponies, 2005-2007 Kevin Box and Te Jui Fu powder coated cast bronze Large: 66" x 77" x 24" Small: 40" x 48" x 13" Turquoise Trail Sculpture Garden (New Mexico) (Photo courtesy Box Studio)
I have known Kevin’s wie Jennier or many years. We worked together in Santa Fe, NM at an educational institution known as the National Dance Institute o New Mexico. We were colleagues and somewhat distant riends but I admired her work there very much. I remember when she invited her riends to meet this guy named Kevin…I think it was at a birthday bowling party? I could tell Jennier was very interested interested in him, and I didn’t really think much about it. Soon ater, I stopped working at NDI and we didn’t see each other or awhile. But as our ilm “ORIGAMI IN HE GARDEN” describes, Kevin and Jennier were meant to be together. heir journey includes some ascinating stories o serendipity and reveals a destiny that eventually combined their two very dierent di erent worlds. Fast orward to 2019. I kept seeing Kevin’s sculptures here in Santa Fe, and there were articles appearing in local media about the new “sculpture garden” that he and Jennier were creating together.. I became together bec ame more curious about what they were up to and when we inally came back into contact, I was amazed by what they had accomplished in such a short time. We talked about doing a short overview video…and then it grew and grew into this documentary. documentary. his ilm project also introduced me to the world o origami that I knew nothing about!
Rock Paper Scissors, 2012 Kevin Box powder coated cast stainless steel and patinated cast bronze 94" x 56" x 35" Turquoise Trail Sculpture Garden (New Mexico) (Photo courtesy Box Studio)
6 The PAPER | Spring 2022
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Flight of Folds, 2013 Kevin Box and Robert J. Lang powder coated cast and fabricated stainless steel 98"x 96"x 91" Minnesota Landscape Arboretum (MLA) (Photo courtesy Box Studio)
How do you make a documentary documentary?? I have made three other documentary ilms, and like most ilmmakers, I have ound that it can be very challenging. he irst major hurdle is always to ind unding. I was very ortunate that Kevin and Jennier have a huge an base maintained through consistent communications and updates about what is happening at their studio. People love their artwork so much that they oten become “riends” o Kevin and Jennier. Jennier. I asked some o their riends to help me und the ilm, and they were incredibly generous. I think this really speaks to how much their clients admire them and believe in the messages presented through their sculptures and exhibitions.
What will you see? Our story provides great detail about how Kevin became interested interest ed in origami. Sculpture is a very challenging proession Kevin Box in his workshop based in Santa Fe, New Mexico
in that it requires tremendous skill and resources. At irst, Kevin developed his personal technique through “unolding” Spring 2022 | The PAPER 7
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UNFOLDING PEACE
Kevin Box and his wife Jennifer work together in the various parts of the business that brings the sculptures to life. Many of them are collaborations with world-renowned origami artists Robert J. Lang, Te Jui Fu, Beth Johnson and Michael G. LaFosse. Emerging Peace, 2016 Kevin Box and Michael G. LaFosse L aFosse Patinated cast bronze and painted cast aluminum on steel - 156" x 79" x 31" Turquoise Trail Sculpture Garden (New Mexico) (Photo by Joyce Haven)
origami and then casting these 3D crease patterns into beautiul abstract wall hangings. But not satisied with only that, he started to cast the completed origami olding. he subjects, and messages, Kevin chooses are very positive. His sculptures have a growing ocus on delivering ideas about peace and protecting the environment.
Origami in the Garden Film “ORIGAMI IN THE GARDEN FILM” has already won multiple awards including: Best Documentary (3x), Best Inspirational Film, Best Woman Filmmaker (2x), and Best Original Score (2x). It is still early in the film festival cycle and we are very encouraged by these early signs that the film is being appreciated by a growing worldwide audience. If you would like to see the film, it will continue being presented at film festivals and special screenings through the end of 2022. At that time, it will move to streaming on a wide variety of platforms. Of particular interest to readers of The Paper , we will be making a presentation of the “ORIGAMI IN THE GARDEN FILM” at the Origami USA Convention in NYC in June 2022. Robert J. Lang, Michael LaFosse, Richard Alexander, Beth Johnson, Kevin and Jennifer will be in attendance to be a part of a Q&A after the screening. We hope to see you there!
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As their vision expanded and their popularity grew, Kevin and Jennier decided to create a sculpture garden in their very large ront ront yard. People come rom all over the world to see these origami sculptures displayed within the unique New Mexico landscape. Along the way Kevin also started collaborating with some o the major artists in the origami ield; Robert J. Lang, e Jui Fu, Beth Johnson, and Michael LaFosse. Our ilm is chock-ull o conversation between all o these artists about the nature o origami and how interesting it has been to work with Kevin. hey all agree that it is incredibly exciting to see their small origami oldings turn into huge metal sculptures! Not eeling content to only share their work at their home garden, Jennier and Kevin decided to create several “traveling exhibitions” that are now installed in major botanical gardens around the country or several months at a time. hey see these exhibitions as a beautiul marriage between art and nature, and the public seems to agree… over two million people have viewed their ORIGAMI IN HE GARDEN exhibitions during the last ew years. Please connect with the links below to stay informed about where the film can be seen or purchased in the future. Film Website: https://www.origamiinthegardenfilm.com Facebook Page: https://www.facebook.com/Origami-In-The-Garden-Film
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DIAGRAM | | SY CHEN (MARYLAND, (MARYL AND, USA)
Peace Sign The ongoing war in Ukraine prompted me to design this peace sign.
Designed and diagrammed by ©Sy Chen (2022) Spring 2022 | The PAPER 9
E T A I D E M R E T N I
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DIAGRAM | | PAUL JACKSON (ISRAEL)
Dress up your sneakers E T A I D E M R E T N I
The Sneakers are easy to make, but be customized folded precisely. Theymust can be in an innite number of ways, using patterned papers or coloured crayons / markers.
10 The PAPER | Spring 2022
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Designed and diagrammed by ©Paul Jackson (2021)
Spring 2022 | The PAPER 11
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DIAGRAM || PAUL PAUL JACKSON (ISRAEL)
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A Crease to Build My essay describes the integration of origami models into my high school geometry curriculum, beginning with the discovery of my rst origami model and its connection to building plastic car models as a youth. I elaborate on the power of origami to make abstract mathematical concepts more concrete and applicable for my students, referencing measurement, vocabulary and investigation.
a Dream On On By David Casey*
While window shopping during the Christmas season a ew years ago, I came upon a git shop that had on display a beautiul origami horse. My immediate thought was, I wonder i I could make that? I consider mysel adept at origami, but some models are so nuanced, the olds escape me without seeing them made in person and not just studied rom a book diagram. his tiny horse was intricate and detailed, and it actually looked like it was made rom two separate pieces o paper, which is essentially akin to origami cheating. One single, square s quare sheet o paper, please! Upon closer inspection o the model, I saw that it was made o porcelain, and I elt a little stupid or being duped. And then I elt a little annoyed that someone actually made a porcelain origami model. hat seems antithetical to the philosophy o origami. In the days when paper was rare and precious, people made origami models
ABOVE. This is my memory of the statuette- stately, powerful and majestic, but not made of paper! RIGHT. I imagine showing my niece a model RIGHT. like this. When teaching a youngster or even my students, finding a model that looks realistic but matches their skill level is always the challenge, one that may take much research. In the case of the horse, I have yet to find that balance.
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rom used paper, reincarnated rom a previous model, perhaps. Origami, though valued, was ephemeral. And on a practical note, i a paper model were to drop, it wouldn't shatter into a thousand tiny sharp shards like the porcelain model. I your little niece came to your house, you probably wouldn't let her play with the porcelain version. But you might teach her how to make a simpler origami horse, so that she could make a herd o her own, a set o paper Breyer horses to play with. I you had the origami directions or the horse, maybe you could try to make this exact model yoursel (out o one piece o paper, o course) and save the $49.99. You wouldn't even need special paper. Ater having taught my son how to make an origami lapping bird, I quickly learned that any type o paper can be used or an origami model. In my son’s teenage years, when we went out or coee or a meal, he would oten use the empty sugar packet on the table to make a lapping bird, or a cube balloon, which, along with the jumping rog, became some o his avorites.
hey became my avorites, too, or teaching my students geometric theorems t heorems and relationships. relationshi ps. Origami in my classroom was always a big hit, giving kids a chance to actually do something besides take notes, which was like pulling teeth. I don't think that “idle hands are the devil's workshop” workshop” as much as they might be the devil's bedroom. Few students can all asleep during an origami lesson, but a slow boring lecture is as good as counting sheep or some students who stayed up past their bedtime the night beore class. I began to build my origami teaching repertoire ater many struggling years trying to develop hands-on activities. I serendipitously
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ound my irst origami model to present while attending a workshop on promoting gender equity in the math classroom. In the packet o resources that accompanied the workshop were the directions or a simple box that was made rom a single square piece o paper. I think the developers o the workshop were somewhat sexist, catering a little too much to a girl’s stereotypical sense o creativity creativity,, by which I mean there was no math in the activity. I think it was meant to be a stand-alone lesson that provided a more engaging way to interact with geometry. geometry. But the interaction was implicit at best, and I learned that an explicit connection needs to be made, in order to urther a conscious use o mathematics. Consider toys, or example. Some children's toys possess an implicit educational component. Erector sets, spirograph, Legos, even Etch a Sketch, all contain creative elements that develop or rely on a geometrical awareness o the world. In a way, way, kids are developing a kinesthetic sense o mathematics when they play with these “toys.” It's no surprise to learn that I had all o these items at one time or another in my youth. But each one, in turn, eventually ended up collecting dust on the shel in avor o my real childhood passion: building models (and as I got older, tree orts). Getting a new model was like Christmas morning or my older brother and me. When we were young, my mom would periodically surprise us with one rom the toy section in the drug store where she worked. As we got older, we would save our allowance money or git money to buy a model ourselves, slowly examining the photos o the model on each box, imaging the diiculty level and satisaction o building it. Putting together these 1:24 scale plastic models o cars, planes, or ships was one o the ew positive experiences that my brother and I shared s hared beore he moved out. We'd careully unbox the parts, separating the “chrome” “chrome” wire rame pieces rom the gray soon-to-be painted plastic injected
LEFT. I often make the models out of whatever paper is available, sometimes even using graph paper to emphasize the geometry of the folds.
BELOW. Having taught my son the model for the jumping frog, he would often make it after a restaurant meal, using a sugar packet, or in this case, a chewing gum wrapper.
molded parts. We'd put aside the rubber tires and clear plastic headlights and windshields and windows. And then we'd careully cut the pieces rom the plastic rame and ile the small burr let behind. All o this was done ater we had checked our squeeze tube o glue, that horrible smelling adhesive that let spiderweb strings and encrusted ingertips. he entire model-building process taught us so many things. We learned about car engines and drive trains. We learned how to ollow directions. We learned the discipline o waiting or glue to dry and when to clamp together drying parts. We learned about paint and solvents, and how to apply decals. And implicitly, I learned about scale actor and ratios! My hands, eyes and brain were all working harmoniously to orm a visceral and intellectual understanding o proportions. It is that trio o human organs, along with an explicit connection to mathematics, that orms the basis o a successul hands-on activity, to which origami belongs. Except or the glue, origami contains all o the learning results o building models (well, maybe not car mechanics) and more! Every old, every crease, every opening hides a geometric relationship. relationship. And in some cases, they may reveal the relationship relationsh ip in ull black, white and shadow. My job, as a math teacher, was to irst o all, show my students how to old, and secondly, ater nearly every old, provide a prompt to elicit their thinking. What conjecture could they come up
with? What did they notice? What did they wonder? What might happen i...? he origami box that became the perennial irst day activity or my Geometry classes oers much in the way o Euclidean theorems, despite its relatively simple method o construction. All olds bisect a particular length o the paper, which is to say, they result in a new orientation that has one o its dimensions reduced by hal. I could, o course, just say to my students, “Fold this side in hal,” hal,” which I would acquiesce to saying, i necessary. But one o the beneits o demonstrating origami is the presentation o what is called c alled “academic language,” more commonly known as “vocabulary words. words.”” When you hold a piece o paper and physically old the paper in hal in ront o your students, it is easy or them to understand what “bisect” means. And, along with a little Latin thrown in, like “bi” meaning Spring 2022 | The PAPER 15
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LEFT.. I chose this LEFT model to present the sh base to my
two (think bicycle), and “sect” meaning cut (think dissecting a rog), the activity provides a visual deinition o the word, which is new to many students. Lengths are not the only thing that are bisected in the origami box model. Angles are bisected as well,oand since a square, rectangular, sheet paper begins with 4or right angles, bisecting these angles results in 45 degrees, then 22.5 degrees, and even 11.25 degrees, i you keep going. o urther explore Geometry, nearly every old results in a triangle somewhere visible in the model. And since the sum o the angles in a triangle is 180 degrees, origami olds become a visual example o a theoretical value.. hat value hat is, bisecting bisecting a 90 degree angle results in a “theoretical” 45 degree angle. In practice, and even in empirical measurement, the value might end up being 44 degrees, or 45.5 degrees, or technically, an ininite number o decimal values that are “close “close to” 45. But that theoretical 45 degrees can be subtracted rom 180, resulting in a value o 135 degrees or the other two angles. Hence, the visual representation o Euclidean geometry, or plane geometry, as it is sometimes called. Like any lesson or topic, too much mathematics can lead to disinterest or mental exhaustion on the part o students. One o the things that keep students involved in the activity is knowing that they will end up with a whale, a duck, or a box. It really is magical when those inal olds, creases and openings turn into a recognizable object. Sometimes I cut the mathematics a little short in order to keep my students engaged, knowing that I will revisit the mathematical topic tomorrow or next week in some other activity, especially i the model has moving parts, like the lapping bird. In that case, it’s all I can do to dismiss the class amidst their “cawing” and aerial attacks on each other’s other’s raptors. In addition to being product oriented, which is a rare characteristic in a mathematics lesson, origami demonstrates 2-dimensional patterns when the model is unolded, which students hate to do unless really prodded. Ater having worked hard to produce a inished product, the students 16 The PAPER | Spring 2022
students, which is an excellent example of a geometric rhombus.
My hands, eyes and brain, working harmoniously, along with an explicit connection to mathematics, forms the basis of a successful hands-on activity, activity, to which origami belongs. will gasp as I dare to unold my model, revealing a ascinating cross o creases, intersecting at right angles or 45 degrees. he box model results in an amazingly uniorm and symmetrical pattern, which I urther explore by shading in the bottom o the box beore I unold it. Seeing the shaded region on the unolded pattern is a great way to see how the area o the base compares to the original paper size, and thus is born another mathematical concept rom origami. Even better than sizes o triangles or measures ocomparing angles is using origami or empirical dimensions. Much o mathematics uses diagrams that are not only not necessarily drawn to scale, but represent unrealistic magnitudes. Students may see a rectangle on their homework assignment with dimensions o 2 inches by 3 inches, when it is quite apparent that the diagram does not actually have those dimensions. But in an origami model, i I ask the students to measure a length and calculate the area, those dimensions are real. A length o 3 inches is not merely a hypothetical value, but an actual physical reality. he original size o the paper, 8 inches by 8 inches results in a quadrilateral with an area o 64 square inches. I don’t have to ask my students to imagine that area. It stares them right in the ace! I never dabbled in origami in my youth. And as I explored it more as a teacher, I never expected to become b ecome an origami master. (I there is such a thing, I only joke to my students about being one.) But once I headed down the paperolding avenue, I was able to see math in nearly every box, whale, crane, and lower that I presented. And my students encouraged me constantly ly.. In addition to beseeching me daily with
their pleas o “Are we doing origami today?,” some o them would buy me origami books as gits, bring in origami paper rom home, or proudly show me a model that they painstakingly worked on at home. I witnessed my resource cabinet overlowing with origami accoutrements. hey became odder or creativity and inspiration when planning units and lessons. And while there were some automatic “go-to” “go-to” models, like the box, and rog and whale, I always enjoyed perusing some o the books that my students had given me, in the hopes o inding a dinosaur or tiger that would illuminate the math topic du jour j our,, without being overly complicated or, on the other end, so simple as to not really resemble the animal that it was meant to be. his balance o mathematical revelation and creative challenge was my guide in choosing the perect origami activity. I was rarely successul the irst time through teaching a new model, but I was never disappointed in my students’ engagement. It might be considered a paradox that a successul way to teach abstract mathematical ideas such as proo, is to use a concrete analog activity like origami. But as a colleague o mine oten reminded me, “Beore we can understand anything, we need to ‘make sense’ o our senses. senses .” In contrast to public education’s quixotic attempt to keep up with technology via computers, I ound one o the best supports that I could give my students was a 400-year-old ceremonial art orm rom halway around the world. It didn't require special glue, or even tape or scissors, but the end product proved to be just as satisying. *David Casey is a retired teacher from Analy High School, Sebastopol, California.
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OBITUARY
A Tr Tribute to Mark Bolitho Bolitho (1967 - 2021) Mark's origami journey began in 1974 at the age o seven by absorbing the contents o Harbin's Secrets of Origami Origami and the amous our paperbacks. At 10 he contributed to a local crat air and at 13, ater inding other books at his library, he joined the BOS. BOS. By then then he he had already already designed some models o his own, an indication o what was to come.
ranging rom V and radio work, advertising, newspaper, ilm and theatre support. Each commission was catalogued and compiled into year books which are very impres impressive sive in indeed. deed. We We think the last last commission he worked on was or a series o Santander adverts eaturing Ant and Dec, which have been shown recently on U.K. television.
Paul Jackson remembers being his mentor when Mark took part in the Duke o Edinburgh's award scheme which helps young people broaden their understanding and increases their expertise in their chosen skill. his was to become the start o a lielong riendship.
About twenty years ago, Mark met Sharon urvey and Paul Hanson at a BOS meeting. hey were all based in London and hit it o straight away, orming a creative trio responsible or organising mini meetings at the Royal Festival Hall, numerous exhibitions and events representing representing the BOS. Owing to his corporate work, Mark was able to provide a gateway or the team to work at London museums. here is no doubt that this team enjoyed and had a lot o un working together. Mark could always be relied upon to bring his personality to the olding table and pitch his ideas or the Creasey and the Paperboy series.
Ater studying maths and philosophy at the University o East Anglia, he qualiied as a Chartered Accountant and a career in inance beckoned. his led to me eyeing him up as a uture BOS reasurer. He spent a year in Australia and New Zealand and, while working in Melbourne, was invited to design origami kangaroos or the Melbourne Symphony Orchestra. On returning to London, he worked as an accountant into his thirties. When an opportunity arose to create work or a major advertising HSBC campaign, he realised that he could become a proessional origami artist. Ever since the BOS was ounded in 1967, we realised that the media liked using origami. Whilst working with advertising companies in particular can be a mineield, we have always encouraged this type o work as it oten ends in good publicity or origami and some great new models have been designed as a result. But it is not or the aint-hearted. Mark, however,, took to it like a duck to water and however built up a very impressive client portolio
He served on the BOS Council, irstly as a member and then as Secretary or ive years rom 2007. A period as Chair then ollowed, and he was awarded a Sidney French Medal in 2015. But he never did serve as reasurer. Mark was also, together with Martin Walker and Zhong You rom Oxord University, the lead organiser or the successul 7OSME origami, science, maths and education conerence there in 2018. I think we can say that Mark loved the origami community, not just in the U.K. but throughout the world. He travelled extensively oten to conventions as an invited guest. His time and eort in the
development o origami around the world was recently acknowledged by YoungHye Rho, the Chairwoman o the Paper Culture Foundation o Korea. Origami Europe was a book conceived at a convention in Zaragoza in 2014 where nations were invited to submit ive designs to the collection. Mark was the driving orce behind the BOS team putting it together. Diagrams or his models will be ound in many model collections, in magazines all over the world, and in his numerous numerous books. Mark was a wonderul ambassador or origami and the BOS. He will be greatly g reatly missed by his large number o riends who regarded him as riendly riendly,, helpul, enthusiastic, modest, intelligent and very capable. He let a positive p ositive contribution to the lives o many and leaves a legacy o his work, which will continue to be enjoyed by many in the years to come.
By Mick Guy I would like to thank Mark's family, Paul Hanson, Paul Jackson and Sharon Turvey for sharing sharing th their eir reco recollections llections of a m much uch loved loved son, brother and friend. The family is hoping to arrange a memorial event for Mark at a future date to be announced.
Spring 2022 | The PAPER 17
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DIAGRAM | | PAUL JACKSON (UK/ISRAEL) (UK/ISRA EL)
Lark Box X E L P M O C
Afte Larry rry Hart & Mark Bo Bollitho Afterr boxes by La My good friends Larry Hart and Mark Bolitho passed away in 2021. They were both renowned creators of origami models. Larry’s first published model was a blow-up Cube, created when he was in his early teens. It was a simple and very unique way to fold a cube, which quickly became a design classic. Mark created a box whose structure was similar to that of Larry’s Cube, but the layers were pulled back at the top to create an ornate colour-change opening. This new Box of mine is somewhere between the two: it has the structure of Larry’s Cube and a very plain opening at the top, reminiscent of Mark’s Box. I call it a ‘Lark Box’, after Larry and Mark. Use a square at least 20 x 20cm.
18 The PAPER | Spring 2022
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Designed and diagrammed by ©Paul Jackson (2022)
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| PAUL DIAGRAM | PAUL JACKSON (UK/ISRAEL) (UK/ISR AEL)
20 The PAPER | Spring 2022
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ORIGAMI DESIGN APP
Introduction to Box Pleating Studio Box Pleating Studio, or BP Studio for short, is an app created by Mu-Tsun Tsai with the slogan “super-complex origami design made easy.” It assists designers in planning the layout of their box-pleated models, in particular where the aps and rivers should be located. by Mu-Tsun Tsai (Taiwan)
Figure 1: Welcome to Box Pleating Studio.
Figure 2: A new project with two aps.
Layout planning is, in my experience, the most time-consuming part o the designing process, especially when one is aiming or high eiciency in terms o paper area utilization, since inding the ideal box-pleated packing can take hours o trial-and-error with grid papers or general-purpose vector drawing sotware. BP Studio drastically speeds up the process by letting one drag the laps across the sheet, and it will instantly examine i they meet the necessary distant constraints, construct stretch patterns among them, and automatically compute the river lows. A designer can use it to quickly create variouss candidate variou candidate layouts layouts and and ind the most most preerable one. Since the designer is still ully in charge o the process, it doesn't take away one's creativity but unleashes it instead. he app was originally inspired by the theory o generalized oset Pythagorean stretches (GOPS), a amily o stretch patterns studied by Robert JJ.. Lang and mysel. GOPS generalizes the construction o many box-pleated stretch patterns previously known, allowing box-pleated designs to achieve near-optimal eiciency comparable to that o o circle-packing designs. It could, however,, be a little complicated to construct however sometimes, so around the time Lang and I were writing a paper on that subject (which was later published in 7OSME, 2018), I also built a tiny app that can calculate GOPS patterns, using the web app technology Spring 2022 | The PAPER 21
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ORIGAMI DESIGN APP I'm most acquainted with as a sotware engineer. But then I realized that it could evolve into something much greater than just a pattern pattern calculato calculator. r. I wan wanted ted it to become a ull-eatured app that could assist uniaxial box-pleated designs in general, general, and ater two years o development, the irst version o BP towards the end oStudio 2020. was released Roughly speaking, the process o uniaxial box pleating design can be broken down into three steps: speciying the desired tree structure, planning the layout or that tree structure, and converting the layout l ayout into a ull mountain/valley crease pattern. he irst and the third steps are both relatively straightorward, and it is the second, also the most time-consuming step that is the ocus o BP Studio.
Figure 3: Tree structure structure for a simple lobster design.
o begin, simply s imply visit https://bpstudio. abstreamace.com to alaunch the app. BP Studio is built as progressive web app (PWA), (PWA), meaning not only it can be launched directly rom any web browser on any platorm without installation, but also it can be installed as a standalone app or oline usage. Figure 1 shows 1 shows the welcome screen o the app in its standalone mode. o demonstrate, let us go through a quick example o how to use BP Studio to design a relatively simple model. As we create a new project, we will see a basic layout with two laps (which is the minimal number o laps allowed in the app to make structural sense), as shown in Figure 2. 2.
Figure 4: Finished layout for American Lobster.
Let's say we want to design a simple lobster with antennae, claws, legs, and body segments. We go to the tree structure view (by clicking the second button rom the right in the menu bar) and start editing the tree. o do so, click on any node o the tree and use commands in the panel on the right side to modiy the tree. We can add nodes, delete lea nodes, and modiy the lengths o edges. You can also rearrange the position o the nodes on your sheet by dragging them around. he tree structure or a simple lobster design is shown in Figure 3. 3. Notice how we add one-unit edges between the pairs o legs to spread them more evenly across the body length, and
Photo 1: Velociraptor skeleton, by Drew Heskett, a highly satisfying skeleton design.
22 The PAPER | Spring 2022
Photo 2: Conrad, Phoenixan & Dragon, by Chris example of multi-subject design.
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how we add a ew one-unit laps on the tail part, which can be transormed later to orm body segments. Once we're happy with the structure, we go to the layout view (by clicking on the rightmost button in the menu bar) and start experimenting with dierent combinations o lap locations. Red shades indicate that the laps violate the basic distance
Photo 3: Kamado Tanjiro, by Ethan Buntaran, a highly sophisticated colorchange design.
Photo 4: Seraphim, by Kim Youngwoong, Youngwoong, an example of applying BP Studio to non-uniaxial design.
constraint (i.e. we their corresponding circlein overlaps), and need to arrange them such a way that all red shades are gone. In our example, one possible arrangement is shown in Figure 4, 4, using a grid size o 25 by 25. It is possible to pack the same tree in a grid size o 24, but we deliberately grat one unit in the middle o the model to add some width to the body or 3D shaping. Observe that we only need to decide where the laps are, and BP Studio will automatically determine the river lows or us. In this example, no stretch patterns are required, but i there are laps that overlap by their rectangular region (and not their circular region),or BPthem, Studioaswill also in ind stretch patterns shown Figure 5 or 5 or a dierent design o mine.
Figure 5: An example with GOPS patterns. pa tterns.
Figure 6: Mountain/valley CP for American Lobster Lo bster,, folded base, and the folded model.
he red lines and blue lines in Figure 4 are 4 are not the mountain/valley creases, but the ridges and hinges ound in the theory o uniaxial bases. We would then have to apply our knowledge in the ield (which one may acquire rom Robert J. Lang’s Origami Design Secrets, Secrets, 2nd ed., chapters 13 and 14) to convert the layout into a mountain/valley CP. As we do so, we may also apply additional transormations that are not natively supported by BP Studio (such as hal-unit structures) on details o the CP. In this design, I transormed the stubs into hal-unit segment pleats and added one additional pleat using a variation o GOPS near the top o the model (and as a side eect, this also allows adding eyes to it), but other than that the structure is identical to that o Figure 4. 4. he result is shown in Figure 6 . Since the irst release o BP Studio (12/25/2020), it has been used by over 6,000 users rom over 100 countries/ regions around the world as o this writing and has inspired more sophisticated original designs than I can count. Some o my avorite designs are shown in Photos 1 to 4. 4. All o them are rom single uncut squares. Spring 2022 | The PAPER 23
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DIAGRAM | | HADI TAHIR (INDONESIA)
E T A I D E M R E T N I
Car
24 The PAPER | Spring 2022
This is a simple origami car with color change from one piece of square paper. If you’re having problems reading the diagrams, you can also watch the video at https://youtu.be/JDS6CUj0PuY
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Designed and diagrammed by ©Hadi Tahir Tahir (2022)
Size comparison between paper and nished model.
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THE CHEMIST TEACHER
Orig iga ami, Zen, and th thee Or Entropy Entr opy Of The Un Univ iverse erse By Tom Conally* This is an article about how I, as a chemist Illustrated by Paula Pietranera** and chemistry teacher, linked my work and my hobby together for my benet and my Origami is one o my passions. It reminds me o lie. A simple convoluted patterns which students understanding. I wanted to connect piece o paper olded into complex and convoluted are made to look like real objects such as a crane, an elephant, or a the actions in a metaphysical metaphysical sense, thus the rabbit. Oh, so careully olded, creased and nurtured then put on action of adding and releasing energy from display sometimes privately, privately, sometimes publicly or all to see and comment upon. Sometimes when in a hurry, the paper is misolded and to the models in a zen meditation. and crumpled and discarded, like lie.
Origami, named in Japanese as ori means ori means olding and kami kami means means paper paper. . Origami became so integrated the liethe o crane Japanwas thatconit became part o their cultural heritage.into In Japan, sidered a sacred bird and it has become one o the most recognizable origami models and a universal symbol or peace. A Japanese legend says that i a person olds 1000 cranes, he will be granted one wish. he Japanese people believe even now olding 1000 cranes brings good luck and good ortune.
Zen, another oriental word but with many meanings. The simplest explanation I can find is “a mindful acceptance of the present moment.” here are multitudes o dierent interpretations and religious connections, but or this essay the meditation and inner peace derived rom this activity at hand will be the primary ocus. Entropy is a chemistry and physics term or expressing the measure o the disorder o the universe and reasonable subsets thereo. Overall, the entropy o the universe is increasing, or it is becoming more disordered. As the galaxies and stars ly away rom each other, other, burn out, reorm and repeat the process, there is less and less order. he entropy o our daily lives ebbs and lows both insigniicantly and independently o the larger universe, but we as individuals do control entropy around around ourselves to a certain degree.
In Balance, by Paula Phase, by Paula Pietranera Pietranera (2021). A Renzuru (2021). A Renzuru group group of 39 cranes folded of 75 cranes folded from a from a single sheet of painted Washi. Background: Sumi ink on Washi paper.
single sheet of painted Background: Sumi ink onWashi. Washi paper.
26 The PAPER | Spring 2022
Each time we heat or cool our home or drive a car c ar we are changing complex carbon-based molecules into simple molecules o carbon dioxide and water and energy which is increasing the entropy o our world. When we old a piece o paper, we are decreasing the entropy o the paper by bending and realigning the molecules rom a relaxed position by adding energy rom our own bodies. Now with the explanations behind us, come with me on a journey into the Zen o origami. We begin by selecting the paper. here are
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hundreds o papers available speciically or origami as well as cutting your own rom wrapping paper, other papers, or just plainhand printed papers, paper.embellished here are silk screened papers, old woodcut prints and handmade papers which are very expensive. hen there is size. Papers come rom 2-inch square packs up to as big as anyone could physically handle and priced proportionately to size. o make this a simple exercise, a simple 6-inch square, red and white pattern on one side and white on the other side is chosen. I chose that moti to be able to ocus on the olding rather than the complexity o the pattern. As I contemplate the paper, pattern side up, I eel the dierence o the texture o the ront ront and back. I the paper is hand made or screen s creen printed, there is a deinite tactile experience. A modern machine made and printed paper registers no dierence rom ront to back. Our paper is the latter so no dierence is elt. I suspect suspec t a zen master would tell you that he could sense the dierence between the red and white ink on the printed side. He may be able to, but I cannot. Arranging the square as a diamond, colored side up, I old the paper p aper on the diagonal horizontally, unold and then rotate 90 degrees and old and unold the other diagonal. Each time I old the paper, I am ocusing on the energy lowing rom my hands to the paper and when I put a hard crease in the paper to make a permanent change, I imagine the molecules in the paper bending, realigning, shiting and the t he entropy o the piece o paper ebbing away.
I am changing a nominally two-dimensional piece o paper into an obviously three dimensional model. he thickness o the paper mathematically insigniicant to the in side o the square paper. As is I old and unold, making the creases the paper, I am aware that my proiciency at making these olds comes automatically rom making literally hundreds o these cranes in the past with now no real thought about which old comes next. A beginning paperolder would have little chance o instantly reaching the level o zen that I have attained through multiple olding. Other paperolders doing this same exercise may have a dierent perception o the universe and, thereore, a dierent zen experience. As I make the last olds I see the orm o the crane emerge and notice that it seems to be slightly dierent than ones made beore. Each origami crane I old has a dierent level o energy put into it so it must be dierent rom all others. As I look at the model I have a connection to the universe. I put the crane down and realize that, again, I have decreased the entropy o the universe even though the change I have wrought is not even as signiicant as a teardrop alling into the sun. In meditative silence, I light a candle and burn that crane on the alter o entropy, entropy, thereore, restoring the entropy that existed even beore the paper that I used was made. Inevitably, we will all join that crane, hopeully, ar into the uture. One never really knows. *Tom Conally is a retired chemist who worked in the industry and also taught Chemistry at High Point College and Alamance Community College (NC). ** The Paper acknowledges acknowledges the collaboration of Paula Pietranera, from San Francisco, whose Renzuru artworks illustrate this article.
From my perspective, when that piece o paper is olded in hal, you have decreased its entropy by one order o magnitude.
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DIGITAL ART
Does origami have a future
in the world of NFTs? NFTs (non-fungible tokens) are digital works that can be bought and sold like any other type of property, but they do not have a tangible form. Tadashi Mori believes that NFTs a future in the worldhave of origami art. Interview with Tadashi Mori, by Laura Rozenberg When I was a little girl, I used to exchange airy cards with my riends riends and kept them in special albums (boys exchanged baseball cards). My parents bought works o art “with a certiicate o authenticity” (that gave them value and status). oday, these practices or physical works continue, and coexist with a nascent digital certiicate industry or electronic works. here are digital certiications accessible to everyone (such as Adobe digital signature) and there are more sophisticated sotwares such as DRM (digital rights management) that are meant to protect ebooks rom piracy. But what about the art world? In the art world, the latest ashion cry is the NF (non-ungible token). An NF is like a digital stamp or certiicate o authenticity in digital ormat that comes along with speciications given by the author, such as whether the author agrees to transer the copyright to the buyer (or not); i it is or a certain period o time; i it is part o a limited series, etc. Once the buyer acquires the digital work with the NF stamp, his name becomes part o the list o owners o said work (equivalent to 28 The PAPER | Spring 2022
Tadashi Mori's NFT store at OpenSea
the provenance o physical works o art), that is, how that work passed rom hand to hand; its current value, etc.
Are you ready to start trading your digital digit al origami files file s in the NFT marketplace?
he big question is: will the NF gain popularity in the world o origami? Will CPs or digital pictures o physical works be sold through the NF markeplace? Will they be sold in exclusive or limited productions, thus increasing their unit value?
I created my collection in Opensea, one o the NF existing platorms. However, there are a ew technical barriers on the trading platorms that still need to be sorted out beore I get into this tech. Just to say briely, there are several platorms, but none o them combines all the traits needed or a riendly riendly platorm. Opensea has a riendly platorm, but to get your collection veriied you need to trade some nts, which costs a lot o money and the lowest price is $5.
We talked with adashi Mori (Brazil), who has been investigating the new world o NF and its potential or origami creators, and this is the excerpt o our dialogue (digital dialogue, o course!)
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Oh, ok. In my intro to this conversation, I missed the importance o “decentralization.” Why is this so important? he decentralization is just a way to have all the registry o what each person owns without depending on an institution. he database is distributed among several computerss in a network that checks the computer validity o each entry. entry. A single computer cannot modiy or lock your assets, so no one has control over the whole operation. his is the reason some people trust in NFs and Cryptocurrencies. You will never have an institution nor the governmentt controling your assets and governmen the responsibility or its validity is also distributed among the users. Would digital images beor the sort of thingorigami that may attract buyers create a community of interest?
he best part o NFs is that it gives a digital certiicate o originality. originality. I, adashi Mori, have a digital address that I publicly display on my website, instagram and youtube channel, so anyone anyone can veriy i an origami NF was made by me or not.
On Mintable, another NF platorm, you don't need to get veriied and you can trade or any price, even cents, but the platorm is not user riendly at all. Probably Facebook will create a way better platorm in the near uture, so I'll wait a little bit beore investing too much time on a bad platorm. I still believe NFs will be in everyone's lie sooner or later, it's one key aspect o the metaverse that's coming. Ok, so first things first. What is NFT in your own words?
These Origamis NFT created by Tadashi Mori can be purchased in the OpenSea plataform that sells digital artwork from around the world.
Without getting into technical aspects Without o cryptocurrencies, NF is just a decentralized certiicate o ownership. It means that it doesn't depend on one institution to control auctions or enorce validity.
How can we make this useful for origami? As an example, thousands thousands of people already have folded an origami model by Robert J. Lang, but how many have an original origami from him?
his is the t he interesting part o NFs. NFs. A known person like Robert J. Lang can create an NF o his origami, or as many as he wants, and give to other people to save in their digital wallet. So, the trade o is clear. You won't have a physical origami, but you have a digital origami olded by Robert J. Lang. he author can also choose how important will this origami be. You can issue 10,000 NFs o one origami, give it to everybody, or you can create a one-o-one NF and only someone really privileged will be able to have it. Spring 2022 | The PAPER 29
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DIGITAL ART How is a traditional certificate of authenticity different (or similar) to an NFT?
he NF acts as a certiicate o authenticiy, similar to a print certiicate o physical works o art. But has more advantages, because you can add certain speciications. It can be attached to a “ranser o Copyright when purchased,” so, you're publicly giving authorization or anyone who buys that NF to use that ile as he wishes. You could simply place your diagrams or digital pictures as NFs, and in an easy click and buy step a book editor could have your explicit authorization to publish your origami photos in his books. You can also issue an NF without the copyright, so it gets a “collection” “collection” value. he same way we collect stamps, cards, etc., we can collect origamis virtually, all linked to the original creator. I know it sounds silly at irst, but I would really beby happy to have an Imagine origami NF created Robert J. Lang. you can say, “See, this origami NF was made by Robert J. Lang, and he only issued ten o these.” I'll go urther: imagine in 200 years someone says, “I have this original NF created by Robert J. Lang 200 years ago.” his is what gives the hype to this tech, thus the absurd prices we are seeing nowadays. Imagine you could have an NF
In this example, Tadashi Mori set the price in Ethereum Crypto currency, and 0.0015 would be about US$ 5.00.
rom Akira Yoshizawa. An origami picture that he took 90 years ago, created an NF account, placed it on the internet, and everyone knows he was the one who made that NF. NF. How valuable would that be? You are starting to convince me! But what are the current limitations?
We still llack ack platorms or everyone ever yone to buy, sell, and more importantly show your collection and interact with other people.
We know for sure that the big tech companies are doing everything to provide the new metaverse for everyone. Hundreds of billions of dollars have been spent on this project, so it's almost certain that it will happen. he trading platorms we have today are too ocused on “leveraging,” so it is still not the best place or people who want to use NFs or un.
Here a video created by Tadashi It willishelp you start trading NFTs: Mori. https://youtu.be/EI1xqSl0oZg 30 The PAPER | Spring 2022
to transer copyright as an option to input into the blockchain, but the interace is the most user-riendly user-ri endly.. On Mintable you can sell/buy or any price you want, it's easy to add money using your credit card, you can transer copyright, but the platorm is not user-riendly and has someto complications toNF git,sdelete, create a store make origami NFs in batches. Creating a store will cost you around $600 to $800. he last thing that is concerning is that it's not really an issue o “having money.” Every time you have to pay a high ee you're actually paying something called a “gas ee.” Basically Basica lly you're paying or computational power, power, which means you're spending hundreds o dollars to waste energy and leave a huge carbon ootprint. his is one o the main reasons to avoid using any platorm with high gas ees.
Another barrier is the tech barrier. It's still too hard or anyone to get into this world tech-wise.
All these problems will be eventually sorted out.
o buy an NF on Opensea you need to buy Ethereum on a crypto exchange, transer to your digital wallet, bridge it to the Polygon network, pay the gas ees, which can range rom $30 to $200.
he carbon ootprint problem is already solved or several parts, and we can clearly see this as now we can git and transer NFss or ree. It's just some steps that are NF still not ixed.
It could be way easier and cheaper, but we still don't have an easy option.
he platorm problem will be sorted by better companies making the platorms or the existing ones improving it.
Other barrier I mentioned beore. You can only have transactions with a minimum o $5 on Opensea. It has several bugs regarding hiding, veriying, showing your collection, and you don't have the option
So, this is roughly what I think o the potential or NFs, and it is an unavoidable uture o digital goods and origami will be part o it.
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Hello from The Source, With over 200 books and 150 paper options, not to mention le downloads,
e-books, and tools, in our inventory, The Source has much to oer for your
origami needs. In this addition, enjoy books with models from various artists including Lam, Mitchell, Kirschenbaum, Hagiwara, and many more. So much to see and so much to fold!
MATHEMATICAL ORIGAMI Author: Mitchell Enjoy the geometrical modular orms created with A4 paper with five different starting shapes: square, silver rectangle, bronze rectangle, golden rectangle and rectangle. Create Convex Polyhedra, Planar, and Rhombic Polyhedra rom simple units with clear instructions. As a teaching tool, these modulars can become group projects to explore the mathematical nature o the units. Tis is the second edition and has been revised to present a range o designs, more robust models, and expand on the mathematical possibilities they present.
There are many ways to place an order. Orders may be placed on the website, or an order form can be printed from the website and mailed to The Source. If the website is not an option, feel free to write The Source and forms can be mailed to you. If you need more assistance, feel free 144 pp PB (I-C) #B21-017 | $13.99 to call and leave a message with The Source. Contact information is at the end of this message. Please note that DOLLAR ORIGAMI (KIT) we have a new location! Author: Kirschenbaum Heidi Lenney https://origamiusa.org/catalog The Source 13895 Highway 127N Crossville, TN 38571 203-885-9151
New Books Members receive a discount. Check the website for the complete list of prices.
ACTION MODULAR ORIGAMI Author: Lam Mathematics, modulars, and movement come together in this book to create models that move, spin, or change shape. Over thirty models are represented by five sections, depending on how the models work: Sliders, Flexagons and Rotating Rings, Magic Wallet Series, Spinners and Wheels, and 3D Shapeshifers. Shapeshife rs. Clear color diagram diagramss and instructions. 82 pp PB (S-C) #B21-018 | $14.9 $14.99 9
Practice money olding skills with this kit that includes 60 practice dollar bills and a ull color instruction book to create 7 easy models. Create the Butterfly, Mouse, Elephant, Giraffe, Bunny, Bunny, Dog and Cat. Te kit also includes instructions or a ree online video. 48 pp PB (S-I) #B21-015 | $12.80
ORIGAMI TANTEIDAN 26TH CONVENTION Author: Various Convention collection Convention with a wide variety o clearly diagrammed models. Te book contains 47 models by various origami designers. Models include Chick, Cat's Face, Mouse on the Cheese Moon, Bat, Owl, Wild Boar, Japanese Zodiac Rat & Japanese Zodiac Ox, Mouse, CubeKiwi, Fox, Cow, Goat, Rhinoceros, Lion, Raccoon, Ragdoll, Black Footed Ferret, Waddling Penguin, Rockhopper Penguin, Hatching Sea urtle, Frog, Guppy, Crucian Carp, Brook rout, Largemouth Bass, White Cloud Mountain Minnows, Shark, Jellyfish, Squid, Sepia Officinalis, Willan's Chromodoris, Sea Slug, Erizo Purpura, Eagle's Head, Te Eiffel ower, ea ea Cup, eru eru Bozu, B ozu, Mammoth Strawberry Shortcake, ea-bag Pipe, wisted Ichimatsu Box, Arabesque, Pentagram, Halyomorpha Halys, Dinosour 2, Hippocampus, Centaur, Queen o Hearts 272 pp. PB. (I-SC) #B22-001 | $50.00
ORIGAMI WORKS OF GEN HAGIWARA Author: Hagiwara 21 original models and diagrams by Gen
PREHISTORIC ORIGAMI
Author: Kirschenbaum
w welve elve dinosaurs roam this book with color diagrams and clear olding instructions. Models include Brontosaurus, rilobite, Fossil, Saber-oothed iger, Pterodactyl, Dino Hatchling, Wolly Mammoth, D Dimetredon, imetredon, Stegosaurus, riceratops, Ankylosaurus, and -rex Skeleton. 112 pp PB (I-HI) #B21-016 | $19.00
Hagiwara. Tese models capture the essential characteristics o each subject and include a crease pattern picture with a finished model on top to show the size o the model relative to size o paper. Te designs require many crease lines beore beore assembling. assembling. Models include Squirrel, Bat, Little Bird, Mouse, Fox Cub, Snail, Rabbit, Dove, Owl, Caravan Musk Shrew Family, Musk Shrew, Wild Boar Piglet, Sea Otter Otter,, Kiwi, Little Shiba Inu, Snake, Wild Boar, Origin Dragon, Brachiosaurus, Rooster, and Koala. Diagrams are in black and white with English and Japanese text. 180 pp. PB. (HI-SC) #B22-002 | $60.0 $60.00 0
Spring 2022 | The PAPER 31
Distributed to origamidoge (
[email protected]) from OrigamiUSA (http://origamiusa.org). Please do not redistribute.
OrigamiUSA Annual Convention June 24–27, New York, NY USA INFORMATION AND REGISTRATION: https://origamiusa.or https://origamiusa.org/c g/convention2022 onvention2022
The OrigamiUSA Annual Convention returns to Manhattan as an in-person event, held at the Sheraton New York Times Square Hotel.
Join your fellow folders with special guests Beth Johnson, Quentin Trollip, Jeremy Shafer, Michael LaFosse, and Richard Alexander!
HIGHLIGHTS 4Three
full days of classes from beginner to super complex 4Live classes with special guests plus many pre-recorded online classes 4World-class origami exhibits 4Sales of books and paper 4Silent auction (rare nds and more) 4Oversize folding from 9-foot paper! 4TAR TAROS OS (The Amazing Race Origami Style) 4Screening of “Origami in the Garden”
Chicago OrigamiUS A Con Convention vention OrigamiUSA October 28-30, 2022, Chicago, Il USA COcon 2022 has been rescheduled for October 28–30, 2022. Registration will open on August 15.
INFORMATION AND REGISTRATION: https://origamiusa.org/cocon2022 Set sail for the shores of beautiful Lake Michigan and the city of Chicago! Get ready for a weekend of origami fun at the Chicago OrigamiUSA Convention (COcon) 2022, October 28–30, 2022. Make Chicago your kind of folding town! Please send any questions about COcon to
[email protected] We will be at the newly-renovated n ewly-renovated DoubleTree by Hilton Magnicent Mile, a great location just a few blocks from Michigan Avenue, aka Mag Mile, and surrounded by restaurants and shopping.
HIGHLIGHTS 4Registration is limited to the rst 150 folders! There will be a wait list
once we are full. 4
A "No-frills" convention: no bags, no T-shirt, no convention book (Bring Your Own Stu)
4BYOS
4We will provide a Welcome Kit with one 4No special guest
package of kami paper.
folders (everyone (everyone is a special speci al guest!)
4Two full days of classes from beginner to complex on Saturday and Sunday 4Enjoy the company of fellow folders in a banquet-hall-sized community
folding room. 4All-night folding Friday and Saturday in the community room 4Special origami exhibit (Free to the public Sat/Sun 9:00 am–5:00 pm)
For more information about joining OrigamiUSA, please go to our website website at www.origamiusa.org 15 West 77th Street, New York, NY 10024-5192
